Wednesday, 2/26/97
Enigk, here at last, gets warm greeting
Refreshingly polite crowd awe-struck by return
of former ‘Sunny Day’ leader
By Brendon Vandergast
Daily Bruin Contributor
#When Jeremy Enigk unassumingly took the stage at the House of
Blues on Monday evening, the gathered crowd of hip scenesters,
matured punks, industry posers and ardent followers put their
cocktails and Marlboros aside and put their hands together again
and again. No ruckus emitted from the rear, no obscene gestures
were thrown in the air up front, and no drunkards yodeled
annoyingly – just a sincere, well-deserved welcome for a
long-awaited appearance from the headliner.
The former lead singer of the almost legendary, rocking emo-core
("emotional hard-core") band, Sunny Day Real Estate, had been
missing in action. Fans witnessed an abrupt dissolution of the
band; the rhythm section went to form half of the Foo Fighters, and
an introverted Enigk’s Christian enlightening via the Internet was
his only contact with the public.
On behalf of his recent return to music with the compelling
debut "Return of the Frog Queen," Enigk made his way to the front
looking like Dave Matthews with an acoustic guitar strapped high on
his chest. The anticipation in the faces of the audience was
overwhelming, and when Enigk opened with the dynamic "Abegail
Anne," anticipation immediately became acclamation. The song proved
his textured whisper to a scream voice sounded as good, if not
better, on stage then on record.
Backed by a bassist, a guitarist and a drummer on one side and a
mini five-piece orchestra (cello, dual violins, flute and clarinet)
on the other, Enigk stood like a composer between the opposing
classical and rock devices.
On the recording, Enigk used# an intimate 21-piece orchestra and
played the guitars, harp, piano and percussion himself. He also did
all of the writing, producing and composing. The product is a
stirring display of punk intensity, classical pensiveness and
passionately cryptic vocals unlike anything heard in modern rock
today.
To mobilize the sound of the record on stage seemed an
unfeasible task, but Enigk and his modified band had no problem
keeping the elaborate and introspective overtones on the first five
songs, each with added spontaneity. On the title song, Enigk
proceeded to move about the stage in an amusing epileptic dance. He
often carried the passion alone when the band rested its
instruments and watched solo performances of "Lewis Hollow" and,
later, a new acoustic and piano #serenade.
The well-reserved audience was an appropriate change from the
moshing rowdiness often seen on the House of Blues dance floor.
Fans looked more like aristocrats at a classical performance than
the mock crowd seen on MTV’s "Unplugged." They mostly stood close
to the stage in awe of the incredible performance before them. They
clapped during inspiring moments and silently sung along. Even the
fool who cawed several times between songs decided it was better
just to shut up and watch.
At times the rhythm section overpowered the subtlety of the
strings and woodwinds, but not so on the bombastic "Shade and a
Black Hat." At first, the flute and clarinet interplayed with
Enigk’s piano and voice. But by the end, the strings were
contorting, twisting and building with Enigk’s controlled screams
to a tense finale. He pounded the piano like a mad Beethoven and
for a moment let go of his perfectly toned voice. It was a complete
transformation from the timid boy who spoke few words earlier as if
it was his first performance.
At this point, Enigk was as relaxed as ever, thanking the crowd
and his band. But Enigk saved the best for last with two new
acoustic songs that pulled the audience in for one last intimate
moment. At the final bar of his final song, he gasped a last
piercingly beautiful note. His neck and face strained red as if he
forced back the oncoming tears. It was cathartic.
Enigk thanked the audience for its hospitality, handed his
written play list to a lucky fan and disappeared behind the
curtain. Though the set was rather short, lasting under an hour,
the audience quietly dispersed with indelible satisfaction. No
encore was called for or needed, for that matter. For some reason
everyone knew that Enigk would soon be back.
The anticipation in the faces of the audience was
overwhelming.
SHAWN LAKSMI/Daily Bruin
Jeremy Enigk, former lead singer of Sunny Day Real Estate,
played to an awestruck crowd at the House of Blues on Monday
night.