Born in Montclair, New Jersey, in 1969, Duncan Sheik grew up in South Carolina but spent many of his early years staying with his grandparents in New Jersey. Inspired to play the piano while there, he later switched to electric guitar and performed in bands throughout high school. A fan of musical theater from a young age, he also acted in school plays and attended the occasional Broadway show with his mother. While studying at Brown University, he played in a band with Lisa Loeb but began shopping his own demo tape soon after graduation. After moving to Los Angeles, he appeared with His Boy Elroy on a 1993 album for Epic, and spent several years writing songs before he signed a solo deal with Atlantic.
Atlantic released his debut album, the Rupert Hine-produced Duncan Sheik, in mid-1996, with the single "Barely Breathing" following later in the year. The song reached number 16 on the Hot 100, and after another single, "Reasons for Living," appeared on the soundtrack to the hit TV show ER in late 1996, the debut peaked at number 83 on the Billboard 200. Also produced with Hine, the follow-up, Humming, arrived on Atlantic in 1998 and reached number 163.
Nonesuch issued 2001's self-produced Phantom Moon, a more orchestral collaboration between Sheik and poet/playwright/lyricist Steven Sater, who provided its lyrics. It featured appearances by the London Session Orchestra and guitarist Bill Frisell. Though it failed to reach the Billboard 200, Sheik returned to the chart with his fourth album, 2002's Daylight, which reached number 110. It would be his final release with Atlantic. In 2002, Sheik also composed music for a New York Shakespeare Festival's production of Twelfth Night.
Continuing to split his focus between songwriting and composition, Sheik wrote the film score for the 2004 romantic drama A Home at the End of the World as well as music for the 2005 documentary Through the Fire. He offered up his fifth studio LP, While Limousine, on the Zoë label in 2006. Its insightful lyrics didn't shy away from sociopolitical territory. In the meantime, he had collaborated with Sater on a rock musical based on the 19th century German play Spring Awakening, a story concerned with teenaged sexuality. With a book and lyrics by Sater and music by Sheik, Spring Awakening opened off-Broadway in May 2006 before moving to Broadway's Eugene O'Neill Theatre in December of that year. The show ran for over two years and took home eight Tony Awards, including Best Musical, Best Book of a Musical, and Best Original Score. The Decca-issued cast album won a Grammy for Sheik and Sater.
Sheik composed the scores for projects including the Mary Stuart Masterson-directed film The Cake Eaters (2007) and the animated TV movie Little Spirit: Christmas in New York (2008) before presenting his next pop album, 2009's Whisper House. Featuring several duets with Holly Brook (Skylar Grey), the RCA Victor release spent a week at the number 181 spot on the Billboard 200. He scored the movie dramas Dare (2009) and Harvest (2010), then returned in 2011 with the covers album Covers 80s, which included backing vocals by Rachael Yamagata and Brook. Covers 80s Remixed appeared in 2012.
Next up for Sheik was a musical adaptation of Bret Easton Ellis' American Psycho featuring a book by Roberto Aguirre-Sacasa and music, lyrics, and orchestrations all by Sheik. It opened in London in 2013. He released another solo album, a song cycle titled Legerdemain (2015), and premiered the musical thriller Noir (2015) at Vassar College before American Psycho had its Broadway premiere in March 2016. The original London cast recording arrived on Concord Records the same month. Based on Lewis Carroll's Alice's Adventures in Wonderland, another Sheik-Sater musical collaboration, Alice by Heart, opened off-Broadway in early 2019. The original cast recording was released by Ghostlight later in the year. 2019 also saw the off-Broadway opening of the musical The Secret Life of Bees, featuring music by Sheik and lyrics by Tony nominee Susan Birkenhead (Working, Jelly's Last Jam).
His first concert album, Live at the Cafe Carlyle, followed on Sneaky Studios/Missing Piece in late 2020. Compiled from a week of shows in October 2017, its set list spanned "Barely Breathing," songs from Spring Awakening, and previously unreleased covers of Radiohead and Tom Petty. An HBO documentary about the 15th anniversary concert of the hit musical, Spring Awakening: Those You've Known, premiered in May 2022 and was followed in June by Claptrap, Sheik's first solo studio album in seven years. It arrived on the New York-based Antifragile Music label.
Biography by Marcy Donelson
Sad Stephen's Song
Duncan Sheik Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sweet silver mermaids
All through that gray Trafalgar Square
Such silver mermaids
They were young, and they were fair
They brushed their bronze and
Dusky hair
"You will love, you will be loved
You will grow up, and do so much
You will be strong, you will be sung
By all the mermaids, silver mermaids"
And once they'd sung their satin song
They beckoned to me from the fog
They spread their arms and lifted
Pale-portrait faces
I was taken
To their coral-cavern halls
To rooms with oyster shells for walls
To sandy nooks, and pearly books and ivory dolls
In ivory stalls, in ivory stalls
And there were mermaids, weren't there?
Sweet silver mermaids
All through that wan, forgotten square
Silver mermaids
They were young, and they were fair
They brushed their bronze and
Dusky hair
And whispered, "Come, Sad Stephen, come"
And I was taken
Was I wrong? should I have run?
I wanted all, I wanted young
And portrait faces
I was taken
Did I love? I didn't care
Did I grow up? Well, unaware
And was I strong? And was I sung?
How do I haunt Trafalgar fog
And find I want so much, still want
And no more mermaids
No more mermaids
The lyrics of 'Sad Stephen's Song' by Duncan Sheik depicts a melancholic reflection on lost innocence and nostalgia for a simpler time, symbolized by sweet silver mermaids. The song opens with the singer reminiscing about their childhood, recalling the alluring presence of mermaids in Trafalgar Square. The mermaids are depicted as being otherworldly and ethereal, with their silver shine and bronze, dusky hair. The singer is invited to play with the mermaids and assured that he will be loved and grow up to do great things. The silver mermaids sing a soothing lullaby and the singer is entranced, allowing himself to be taken to their coral-cavern halls. The mermaids seem to offer a safe haven where the singer can remain forever young or rather escape the responsibilities and hardships of adult life, represented by ivory dolls and walls made of oyster shells.
However, towards the end of the song, the singer begins to question his choice. He wonders if he was wrong in being taken by the mermaids and if he should have run away. Despite having a nostalgia for the past, the singer acknowledges his naïve and selfish desires, wherein he did not care about love or growing up. The song suggests that while the mermaids offered a utopia of sorts, it was not accompanied by maturity, growth or true love. The singer now struggles with the weight of his choices and longs for a sense of closure, wishing the mermaids would return, but also acknowledging that they never will.
Line by Line Meaning
And there were mermaids, weren't there
Sad Stephen reminisces about the existence of mermaids in not just one but multiple instances
Sweet silver mermaids
The mermaids possessed enchanting and captivating features that appeal to Sad Stephen
All through that gray Trafalgar Square
The mermaids were witnessed by Sad Stephen in Trafalgar Square on a dull and gloomy day
Such silver mermaids
Sad Stephen emphasizes the allure and charm carried by the mermaids with the repeated use of the term 'silver mermaids'
They were young, and they were fair
The mermaids were youthful and physically attractive
They brushed their bronze and Dusky hair
The mermaids had dark hair with a bronze-like complexion
And whispered, "Come, Sad Stephen, come, and play here"
The mermaids invited Sad Stephen to come over and enjoy their presence
"You will love, you will be loved
The mermaids gave Sad Stephen assurance of finding love and being loved in return
You will grow up, and do so much
The mermaids expressed confidence in Sad Stephen's future and his potential to achieve many things
You will be strong, you will be sung
The mermaids spoke of Sad Stephen's strength and how he will be praised and sung about by many people
By all the mermaids, silver mermaids"
The mermaids echoed the sentiment of all mermaids regarding Sad Stephen's future and success
And once they'd sung their satin song
The mermaids sang a bewitching and smooth song to Sad Stephen
They beckoned to me from the fog
The mermaids called upon Sad Stephen from the thick fog in Trafalgar Square
They spread their arms and lifted Pale-portrait faces
The mermaids looked mystic with their arms widely spread and their pale white faces and body glistening in the fog
I was taken
The mermaids exerted great influence over Sad Stephen's senses, and he couldn't resist their temptation
To their coral-cavern halls
The mermaids took Sad Stephen inside their underwater caves that were decorated with corals
To rooms with oyster shells for walls
The rooms inside the mermaids' coral caves had walls made of oyster shells
To sandy nooks, and pearly books and ivory dolls
The underground caverns of the mermaids held several items, including books made of pearls, dolls made of ivory, and sandy nooks
In ivory stalls, in ivory stalls
The mermaids' ivory stalls made out of tusks were used for storing items
They were young, and they were fair
Sad Stephen a yearns for the company of the mermaids, who were young and fair
And whispered, "Come, Sad Stephen, come"
The mermaids extended another invitation for Sad Stephen to join them
Was I wrong? should I have run?
Sad Stephen expresses remorse and questions himself if he was wrong for indulging in the company of the mermaids
I wanted all, I wanted young
Sad Stephen admits to his greed and desire for having everything and being young
And portrait faces
Sad Stephen was attracted to the appearance of the mermaids' faces and portraits
I was taken
Once again, Sad Stephen couldn't resist the spell cast by the mermaids and got swayed by them
Did I love? I didn't care
Sad Stephen ponders whether he experienced love in the mermaids' company or not and concludes by expressing his indifference towards it
Did I grow up? Well, unaware
Sad Stephen now wonders whether he has grown up or not and whether he is even self-aware anymore
And was I strong? And was I sung?
Sad Stephen questions his previous notion of being strong and sung by people
How do I haunt Trafalgar fog
Sad Stephen now wonders how he is stuck in the fog of Trafalgar Square and unable to find a way out
And find I want so much, still want
Sad Stephen is still greedy and yearning for more even after being in the company of mermaids and realizing his mistake
And no more mermaids
Sad Stephen accepts his fate and comes to terms with the fact that the mermaids will no longer be a part of his life
No more mermaids
The song ends with a repeated phrase of 'no more mermaids,' signifying that the chapter of the mermaids in Sad Stephen's life is now closed
Lyrics © BMG Rights Management, Kobalt Music Publishing Ltd.
Written by: DUNCAN SHEIK, STEVEN SATER, STEVEN EDWARD SATER
Lyrics Licensed & Provided by LyricFind