Secondhand Setlists

Upon walking into the Regent Theater, one can feel they are in for a good show. The general admission area slopes downward towards the main stage, granting excellent viewpoints for the whole crowd. Just large enough with minimally decorated walls, the Regent places full attention on the stage to ensure it is the main attraction.

Not that any of the acts this evening really needed assistance when it comes to attracting attention.

Singer Povi began her set draped entirely in a black shawl. When the shawl came down, she resembled a mermaid, with teal ombre hair and a slinky pink dress. This siren came with a stellar backing band, complete with a trumpet & tenor sax in addition to the standard guitarist, bassist, drummer and keyboardist.

Povi possessed a natural banter between the audience, regularly interjecting between songs to connect with audience members. Such connections are integral to live events, where an artist must convey their music and message in a more intimate setting than through an MP3 or the radio. Povi’s message rang loud and clear, her voice plowing through each track. Her finale, a rousing cover of Jessie Ware’s “Running,” further showcased the talents of her musicians, and set a hype for the upcoming acts.

Following Povi came Gabriel Garzòn-Montano, a multi-instrumentalist whose stage comprised himself on keyboards, a percussionist and a backdrop of shifting projections. Garzòn-Montano’s music fit well in the middle, an ambient flow of sound held together by sharp percussion. The result mesmerized me, synths oozing over the space while visions of water, birds and fire glowed in the background.

I do wish he exchanged more dialogue among audience members. By failing to do so, it made Garzòn-Montano feel less accessible to the gathered listeners. At the end of his set he almost rushed off the stage, as if he too felt that disconnect and wished to escape it. He shouldn’t have to because this guy is extremely talented!

The period in between him and Tinashe felt way too long, partially because it took over a half hour for her appearance. Obviously it cannot be helped if technical difficulties are at fault, but this bump broke the momentum the previous two performers had built up.

Luckily, Tinashe is a bombshell. No matter the distraction, be it backup dancers, acoustic guitarists, or two full glitter-cannons, her tiny, tight frame always attracted the eye. From the intro of “All Hands On Deck,” she laid the foundation for the evening, one full of hair-flips, slick movements and her breathy yet piercing soprano.

Though her singing is what brought us to the Regent, Tinashe’s dancing is reason alone to watch her. Alongside her four dancers, Tinashe brought the fire, landing every turn and body-roll with the poise of a seasoned performer. During “Drop That Kitty” we even saw her slide into the splits without a second thought, much less a breath, and hold them with her smirk and singing intact. Not that she even needs to show off, but it still worked.

She even added little treats for her LA fans, including a rendition of her remix of Nick Jonas’ “Jealous,” as well as a cover of Major Lazer’s summer smash, “Lean On.” Before the obvious encore of “2 On,” she delivered a first-time acoustic version of “Player” a single off the upcoming Joyride. Such a performance reveals Tinashe, like Beyoncé, possesses just as much vocal ability as she does dance talent.

By the end of the show, you’re left wondering how Tinashe does it. Crooning and cavorting about under harsh lights is a difficult feat, but she doesn’t just make it look easy. She makes it look fun.