Regine Velasquez’s ‘FINALE’ Recounts The Life Of Asia’s Songbird Through Music — Review

Regine Velasquez‘s epic three-day ‘FINALE’ concert was many things, but for fans, it was mostly bittersweet.

Spanning three hours, the evening of October 18 and the second night of the concert series played like a memoir, with each number comprising different moments in the singer’s career. As a prelude to the show, behind-the-scenes footage played on the stage, showcasing the artist discussing with her team the meaning of ‘FINALE.’ In the video, Velasquez shared how deciding to hold a farewell concert was difficult, but something she had to do, as that life was becoming unsustainable at her age.

Finally, the curtain rose to reveal perhaps the most theatrical stage setup I’ve ever seen for a concert: a gothic-esque courtyard with lush flora draped over arched walls. At the center of the stage, a glass dome lifted, revealing Asia’s Songbird, who began the evening with “Narito Ako.” The spectacle, together with Velasquez’s opening notes, made a profound impression that lasted throughout the show.

Keeping the momentum, Velasquez stepped closer to her fans, who sang the remainder of the ballad as she stopped to shed a tear. Seeing the OPMOPMShort for Original Pilipino Music, the body of songs created by Filipino artists, spanning genres from ballads and rock to hip-hop and pop. OPM expresses Filipino identity and heritage, andGo to OPM Glossary icon that night was touching, especially as someone who’s seen artists quickly come and go in this era of music. In contrast, here was a singer whose fans remained faithful devotees throughout four decades.

Once Velasquez finished another ballad, “You’ve Made Me Stronger“, the stage shifted from the fantastical to the psychedelic as the singer followed up with her upbeat rendition of Blondie‘s new wave hit, “Call Me.” It was through this tonal shift that Velasquez established her range as a singer and performer, proving she still had what it took to be an artist of that magnitude.

Other than its setlist and spectacle, one of the show’s many surprises was its guest artists. I was pleasantly surprised to see OPM icon Jose Mari Chan go on stage and approach Velasquez to sing their duet “Please Be Careful With My Heart.” Hearing Chan sing anything other than lighthearted Christmas songs was strange to me, so much more so was his heart-rending performance with Velasquez that evening.

After the duo’s performance, the stage went dark as another clip played, showing the singer expressing gratitude to her fans. Velasquez then entered the stage in a glistening white dress, with a saxophone introducing a smooth jazz number (a soon-to-be-released track, “Espasol”), establishing the next section’s sonic character.

The following number featured Meet Me at the Elevator, the band of Velasquez’s son Nate Alcasid, which kept the smooth jazz atmosphere going with another unreleased song. Signaling another tonal shift, the singer unclipped part of her dress, giving her legs room to groove to “Urong-Sulong.”

Here, Velasquez brought in P-popP-PopShort for Pilipino pop, a movement of Filipino idol groups and solo acts who combine pop music, choreography, and polished production for local and international audiences. P-pop has grown quickly,Go to P-Pop Glossary group DNA to join her, after which she left to give them the stage (and herself time for another dress change), where they performed their self-titled track, a gritty hip-hop song that stood out from previous (and subsequent) numbers in the show. Seeing the contrast, I realized cohesiveness wasn’t the singer’s top priority as much as it was sharing the stage with fellow musicians, in this case, the younger generation.

But as her career spanned generations, it was also inevitable that she’d share the stage with veteran artists, as she already did with Chan. The next section, while showcasing Velasquez’s unquestionable talent, was more personal, featuring duets she previously performed with actors like Piolo Pascual and Dingdong Dantes (although she sang these numbers solo).

All this built up to one final duet, “Hanggang Ngayon,” which she performed with her husband and fellow OPM icon Ogie Alcasid. Rising from a trapdoor, the singer-songwriter joined his wife as the two showed their chemistry as a musical duo and as a couple.

But what I found most touching was when fellow singers Donna Cruz and Mikee Cojuangco joined Velasquez to sing “I Can” and “A Little Love Goes a Long Way.” Admittedly, I was unfamiliar with the trio’s history. Velasquez later explained that they starred in the 1996 Filipino comedy, Do Re Mi. Still, I could feel the sentimentality exude from the stage.

The trio’s performance genuinely felt like three longtime friends gathering and having a laugh together. They weren’t so much trying to wow audiences as they were trying to spend this beautiful moment amongst themselves.

Finally, Velasquez capped the evening with her special karaokeKaraokeA form of entertainment in which people sing along to instrumental versions of popular songs, with lyrics displayed on a screen. Deeply loved in the Philippines, karaoke is a socialGo to Karaoke Glossary-style segment, “Regine-oke,” where she invited the audience to sing along with timeless international hits like “Dancing Queen,” “Dance with Me,” “If Ever You’re in My Arms Again,” and “Crazy For You.”

Throughout this segment, the singer rode an ornately designed cart around the arena, bonding with audience members by the bleachers. As casual as it was, ending her show this way was a clear indication of what the singer really wanted her final concert to be: a moment spent with her loved ones, which also included her fans.

The biggest impression I had walking out of the arena was the humility that accompanied Velasquez’s poise and immense talent. Far from keeping the spotlight to herself, she shared the evening with friends and the whole arena itself.

Her performance that evening showed no trace of an artist needing to retire from the major concert stage. Whatever the reasons for a farewell concert, we can say Velasquez left the arena an artist who not only loved her craft but her fans as well.