REGINA SPEKTOR

Returns To Australia

For Special Solo Performances This July

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“Our generation’s Joni Mitchell” — Esquire

Chugg Entertainment is proud to announce that indie iconoclast, Regina Spektor, will return to Australia this July for two very special solo performances; her first Australian shows in six years. The Russian-born American songstress will take in Melbourne’s Hamer Hall on Sunday 8^th July, appearing in conjunction with the National Gallery of Victoria’s MoMA at NGV Melbourne Winter Masterpieces exhibition. The following day, she will deliver a unique performance in-the-round at the iconic Sydney Opera House Concert Hall on Monday 9^th July.
                                                            
Across seven critically acclaimed studio albums and multiple hit singles, Regina Spektor’s distinctive genre-melding brand of pop has enchanted audiences and critics worldwide. Spektor brings with her an unparalleled catalogue of enduring classics, including; ‘Fidelity’, ‘Samson’, ‘Better’ and ‘On The Radio’.

Introduced to the world by none other than The Strokes, the classically trained pianist has nurtured an intimate relationship with Australian audiences over her many sold-out shows. Boasting an incomparable vocal range, Spektor has consistently dominated the world’s biggest stages (including Coachella, Bonnaroo, Lollapalooza) and has toured with musical giants Kings of Leon and Tom Petty among others.

From writing and performing the theme song for Orange Is The New Black, to covering John Lennon’s ‘Real Love’ and Lin-Manuel Miranda’s ‘Dear Theodosia’ from his musical Hamilton, Spektor’s unique voice and songs have been heard on the radio, television and in films the world over. Regina Spektor now invites fans back into her whimsical world for two very special solo performances featuring fan favourites, rarities, and perhaps a few surprises.
                                                            

“Underdog storytelling in brilliant song-craft”– Rolling Stone
 
“The first gig I’ve been to in years where almost everyone is watching rather than filming” — The Guardian

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