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
Touch Me
Duncan Sheik Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That I used to do, yeah-eh-eh-eh-eh
Well, I'm a big girl now, hmmm
With belief and desi-i-ire
Come on and touch me, touch me, touch
Come on and touch me, come on, and come on
Come on and touch me, touch me, touch
People can't understand it, oh yeah-eah
People can't understand it, oh, oh, oh
People can't understand it, oh yeah-eah
People-people can't understand it, oh, oh, oh
I think it's hi-igh time, yes, time
My soul gets burned, uh-huh
Just give me one look, hey, (oh yeah)
Just give me, (oh yeah), give me
Come on and touch me, touch me, touch
Come on and touch me, come on and come on
Come on and touch me, touch me, touch
Come on and touch me yeah-eah-eah (yeah-yeah-yeah)
People can't understand it, oh yea-eah
People can't understand it, oh, oh, oh
People can't understand it, oh yeah-eah
People-people can't understand it, oh, oh, oh
Oh-oh-oh-oh-oh-oh, Oh-oh-oh-oh
Oh-oh-oh-oh-oh-oh, Oh-oh-oh-oh-oh
Ah-uh, Ah-uh, Ah-uh, Ah-uh
Ah-uh, Ah-uh, Ah-uh, Ah-uh
Come on and touch me, touch me, touch
Come on and touch me, come on and come on
Come on and touch me, touch me, touch
Come on and touch me yeah-eah-eah (yeah-yeah-yeah)
People can't understand it, oh yeah-eah
People can't understand it, oh, oh, oh
People can't understand it, oh yeah-eah
People-people can't understand it, oh, oh, oh
Ah-uh, Ah-uh, Ah-uh, Ah-uh
Ah-uh, Ah-uh, Ah-uh, Ah-uh
The song "Touch Me" speaks about a new journey in life, where the singer seems to be moving on from the old ways of doing things. She declares that she is a "big girl now" and has the belief and desire to start afresh. She also calls out for someone to touch her, implying that she is ready to experience new things and is open to love and affection from someone special. Despite this openness to new beginnings, people cannot seem to understand this change in her, which suggests that there may have been some resistance or judgement from those around her. Still, she remains resolute in her decision to take charge of her life and pursue the things that she desires.
The song has a catchy and upbeat melody that inspires hope and a sense of adventure towards new beginnings. The repetition of the phrase "come on and touch me" emphasizes the singer's longing to be touched physically and emotionally. It is possible that the touch she seeks could represent a new relationship or a change in her life that she is willing to embrace. The song's lyrics and melody come together to create an anthem that encourages listeners to take control of their lives and seek out new experiences.
Line by Line Meaning
No longer will I do all the things
I am done with my past actions and behaviors
That I used to do, yeah-eh-eh-eh-eh
I am ready to move on from my old ways
Well, I'm a big girl now, hmmm
I have matured and grown from my past experiences
With belief and desi-i-ire
I have a newfound passion and motivation
Come on and touch me, touch me, touch
I crave physical and emotional connection
Come on and touch me, come on, and come on
I want you to make the first move and show me affection
People can't understand it, oh yeah-eah
Others are unable to comprehend my desires and feelings
People can't understand it, oh, oh, oh
My desires are difficult for others to grasp
I think it's hi-igh time, yes, time
It's long overdue for me to embrace my desires
My soul gets burned, uh-huh
I am passionate and intense in my feelings
Just give me one look, hey, (oh yeah)
A simple sign of interest from you is enough to excite me
Just give me, (oh yeah), give me
All I want is your attention and affection
Oh-oh-oh-oh-oh-oh, Oh-oh-oh-oh
Expressing my desires makes me feel alive
Ah-uh, Ah-uh, Ah-uh, Ah-uh
I am eagerly waiting for you to connect with me
Lyrics © Peermusic Publishing, Warner/Chappell Music, Inc., CONEXION MEDIA GROUP, INC.
Written by: NARADA MICHAEL WALDEN, JOSEPH B. JOHNSON, VOCTOR ROBERT MANLEY, PAUL PHILLIP WITTS, PIERTO ROSSINI
Lyrics Licensed & Provided by LyricFind
@GreySox
All the music from Spring Awakening is so inspired.
@renepatemann1964
Fan for over 20 years. Greetings from Germany
@TheJfluffy
This is such a wonderful discovery! I just found this just now
@christophersalvatore9335
Stunning
@alemolina10
Great version! love Spring Awakening. i'd like to listen to you singing an Alice by Heart song. Greetings from Argentina.
@killemall69
You are what you Hear !
@slowpokeproductions
Great song as always, Duncan. JMO tho, your voice set a mood and I felt it like I always do in your songs, but the woman, although super talented, didn't fit this song (IMHO). Her interpretation of this wistful song and melody was...overdone? It took me right out of the solemnity in which you had me. As an aside, your choice of 2nds and dissonance in your melodies is, and has always been sheer genius. It's the reason I've been a fan of yours since "Barely Breathing". Thanks for your brilliant musical mind.
@darcycrews
Agreed!
@ourjuliet
@slowpokeproductions I respectfully disagree. She's full of passion. It's an interesting juxtaposition between the two characters in the story. If you think of it that way, it fits like a glove. Also, notice how Duncan's vocal performance gets more passionate, insistent, and dynamic as well. Finally, listen to the ending again. They're both on the same page. Thank you for considering my opinion. Enjoyed your well-written and obviously studied comments.