Jeremy Enigk Entertainment Art Double Door Chicago, Ill. December 13, 2006

“A New Beginning” was a good indicator of how lavish the instruments would sound together, which was heightened by all the programming - plus convenient regarding Enigk’s partiality for orchestral maneuvering in the dark. But it was when he started singing on the second song in the set, “Been Here Before”, was when those in the back may not have envied the crowd closer to the stage. Still most would never ever compromise a view. That’s why they go to the show. What we screech in our cars is our business and will be left in Montego Bay Last Christmas. Anyway, reason for best sound in the back: Enigk sings at a frequency that when transferred to monitors has the same effect as someone who sings in lower octaves. The force comes out in the vocals and the tone is sometimes lost. However, a good digital camera will pick it up. And Enigk and friends are a great thing warmed over. Hence, all the states gabbing together in the crowd. The discussions said this was not their first or last night on the tour.

One may also be convinced Enigk hears at this frequency as well. Some show goers would shout at him and some would whisper, but he smiled at each, hearing things only a man who could detect a sneeze from a northbound Damen bus and have the courtesy to say bless you could decipher. One thing which was exceedingly audible was a young kid screaming, “Christ has risen.” “That he has,” Enigk replied, and then before going on he added, “We can all rise if we want.” This received mixed noises from the masses, but everyone knew the history of the athletic director before they signed up for the cruise - so there shouldn’t have been any dismay. Despite Minnesota pointing out how awkward it was, the risk of unwilling conversion was minimal. The breakthrough was he said what was on his mind the moment it was given him.

The band went through “City Tonight”, “Canons”, “Frog Queen”, “Set it on Fire”, and “Lewis Hollow”, before Enigk announced he had to tune and it gave him a secret chance to catch his breath. Got to like someone who lets out his own secret. But one could be sure by his lyrics he has more. Alone he played a song he was still developing, “I Can’t Kick.” Kaanan Tupper sat on the steps and watched. Feeling a little cheated to see it on the set list. But we will give the benefit of the doubt. Only they know how long that list had been typed, and most of the staff can’t kick ourselves. “Abigail”, “Carnival”, and “Lizard” ensued. Enigk’s cords were probably thought to have been at peak performance during “Damien Dreams”, but we didn’t expect the revived Double Fantasy tribute he had for us towards the end. He went on with “World Waits” with an achingly sweet deliverance of the words, “Never take the time. Don’t break my heart again.” “Shade and the Black Hat” was played and then they boys abruptly left the stage. Always read the set list before you become one of the schmucks clapping for the encore. If they’re too tired, spread out! And they were staggering, melting wax figures making their way into the tiny holding cell below the stage. Tupper was the only one drinking water, in addition, and one could be sure the Amstel wasn’t helping – although Enigk drained the neck like a cooler. Vocals were still perfect. Old school guidelines: Nothing with hops while singing and never potato chips. But hey, these guys are as professional as it gets so rules were meant to be broken.

Enigk came back as Dolan found a spot in the crowd where his event promoter finally stood in silent awe. “Ballroom Blitz” was bestowed to a pleased reception as Minnesota went down like a tangled-legged deer, and although she was about ninety pounds, it took eight people to grab hold of her. Security lifted her to the back. For the moment, the audience was only concerned about that and nothing else. She did have enough beer for a six-hundred and thirty pound man from what bystanders tallied from her bottles on the stage, and it was hot enough to make hash browns in the venue. Jeremy was rather calm, “I’m sure she’ll be okay. Let’s hope so,” he nodded. What else was he going to do? At least he wasn’t insensitive like say Richard Dreyfuss getting a call in the middle of the night about Bill Murray killed himself and turning off the light ala “What About Bob”, remarking, “Oh well, let’s not let it ruin our vacation.” Picking up another acoustic, hitting his loop processor, and getting the delays right on his Fender amp to play “Explain,” he popped his high E in his usual I-am-playing-guitar-now fervor, and stood satisfied with himself. The audience cheered. “And I was hitting it really hard. Okay. So you get two more!” he smirked.

Sitting down at the keyboard, he did a bone-chilling version of “Mother”, a song off of John Lennon’s first solo offering, his guttural, burgeoning sustain peeled away the contours of his mouth as his eyes welled, and he nearly stood from his bench. It was enough to make you weep. He drummed on his keyboard, but the keys were not beaten into an unintelligible racket. The melody was fast, sweeping, and elegantly improvised. Then he diffidently resumed the mic - which he apologized to by name for bumping with his chin – and said, “I’ll play one more now and I’ll be on my way. I am amazed at the love,” he nodded finally. Another guitar was handed to him, and he recommenced playing explain despite the acoustic feedback from the amp.

Silently, he left the stage and headed down the stairs. Due to pretense, so few shows in Chicago are an exchange of such great love. Those who have planned what is good have found it.

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