“Truly mesmeric”: the one show that blew Ed O’Brien’s mind
New York City’s Sin-é was an intimate setting for counterculture creatives in the 1990s. Established in 1989 by Irish immigrant Shane Doyle, this quaint café that once resided in Manhattan’s East Village played a vital role in establishing a community dedicated to authentic art. Before it closed in 1996, poets, musicians, and artists alike would come together and give impromptu performances for patrons and one another. From Sinéad O’Connor to Allen Ginsberg and Marianne Faithfull, Sin-é fostered some of the most inspiring and real creators of the time.
In 1993, on a summer night in mid-July, Jeff Buckley gave a riveting performance at Sin-é. He took to the makeshift stage in the small room where the tables had been pushed to the side and sang with a genuineness that was felt by everyone and continues to feel today.
This performance also resulted in the production of his first EP, Live at Sin-é, which, at the time, comprised four songs— two covers and two originals. The songs included Buckley’s own, ‘Mojo Pin’ and ‘Eternal Life’, alongside Édith Piaf’s ‘Je n’en connais pas la fin’, and Van Morrison’s ‘The Way Young Lovers Do’. It was this performance that rattled Radiohead’s songwriter and guitarist, Ed O’Brien, and gave him the inspiration for OK Computer.
His performance that night in 1993 was one of his most haunting while also emitting a subtle electrification. It was wholly indicative of Buckley’s scope and indisputable skill. His vocals swung with a natural dynamism that paired instantaneously with the guitar that led him through his set. As O’Brien has stated, “What we witnessed that night was something truly mesmeric. He had this angelic quality and this incredible power.” It was precisely this essence that served as nourishment for Radiohead’s third studio album.
There’s a kinship between tracks like ‘Mojo Pin’ and ‘Let Down’ or between ‘Eternal Life’ and ‘Airbag’. It lives in the way they capture moments with palpable sincerity and let vocal emotion seep through the delivery—all the while, the sound of the guitar comes in with authority and guides the song with careful confidence. Both artists beg for connection, without being too flashy or overwhelming, with their music. And they quickly establish that connection because of the candour their sounds offer and the atmosphere they foster.
What’s remarkable is that Buckley left a deep impression on the work produced by Radiohead at the time. If only he could have covered ‘All I Need’ or ‘Glass Eyes’ because the tone and sentiment steeped in those tracks have Buckley etched all over them.
Since he entered the music scene, Buckley demonstrated a tangible understanding of his craft. He was a humble genius with a clear dedication to the trade. Though his career was cut heart-shatteringly short due to his unfortunate death at 30 in 1997, the profound rawness and depth he presented vocally, lyrically, and performatively remain an influence on a variety of artists today.
