The New Yorker not only had the sheer guts to restart Dance Anthem Of The 80s at the exact point a flying T-shirt engulfed her entire head like the Borat-Pamela Anderson incident, but she also implored the Academy’s security staff not to throw out the ‘troublemaker’, whom Regina quickly realised was merely an over-enthusiastic fan-girl who had made a misguided attempt to get the garment (which looked like a DIY creation intended for the ‘design a Regina Spektor T-shirt’ competition) to her idol.
“I’m OK. I’m glad it was a soft landing,” she said with a blushing smile, reassuring an audience whose boos of condemnation immediately turned to amplified vocal support as the Moscow-born singer fought back giggles at her keyboard as she tried to finish the song.
It just reinforced how adorable Regina is. As a performer, she is an intriguing combination of bashful delicateness and fearless confidence in her own incredible talents, which were particularly highlighted when her backing band of drums/violin/cello left her to perform several songs on her own, which she did equally comfortably on piano, guitar and a cappella.
Songs from her new album Far went down particularly well but old favourite Us and Begin To Hopes’ holy trinity of Fidelity, On The Radio and Samson took things to an even higher level of perfection, the latter leaving one audience member wiping away tears.
More cute-as-custard grinning from Regina was prompted by one fan’s shout of “Marry me!” then another’s of “Marry me, too!”. Funnily enough, neither heckler was male. Since female role models in pop music are a rarity these days, girls clearly know one when they see one.