I walked to senior Eliza Densmore’s house in an aggressive downpour of soft snow. One of her roommates let me in, and as I adjusted to the warmth, the smell of something delicious being cooked trickled into the room and soon engulfed the entire house.
We sat down in her living room, me on a wooden table and her on an oversized beanbag chair in the center of room. I asked if she could play me some songs, and she pulled out her guitar, placing it on her lap. She played three originals. She looked comfortable singing to me in her loose jeans and wool socks, like an impromptu solo performance for an audience of one was no big deal to her.
The first thing I noticed was that she moved her toes a lot when she sang, like she wasn’t comfortable sitting the way she was. After the first song, she said she preferred to stand and walked to the center of the room. She stood in front of me, silhouetted against the pastel light behind her.
When she sang, her face was full of expression. Her eyebrows moved up and down with the music. Her eyes opened wide, closed suddenly, and opened again more slowly. She looked down, out, and down again. During the last song, there was a moment when her voice got loud. It was controlled and sudden, and it surprised me. She quickly reverted back into her softer tone effortlessly. It was beautiful, and I wanted to hear that power behind her voice again.
Eliza has been musical since a young age. She started taking piano lessons when she was six, learning by the Suzuki method, which focuses on the development of a musician’s ear rather than their ability to read sheet music.
Her musical journey was largely independent. She listened to a wide variety of music growing up, building a repertoire of different styles and techniques. She taught herself guitar, and learned how to harmonize by singing along to songs she heard. Her only formal training was chorus.
“I didn’t really consider myself skilled at singing until late in high school,” said Eliza. “I was sort of a loner in high school, and I would come home and be angsty and play the piano to myself. I would try and belt it all out. Eventually you learn how to work with what you have and adapt and find your own sound.”
Eliza first started writing songs on the piano, but switched to the guitar her junior year of high school. The piano was framed in her mind as a more classical instrument, and the guitar lent itself more to the singer-songwriter vibe she wanted.
She wrote her first song when she was 15. She laughed when I asked her about it, and offered to play it for me. It’s called “Out of Here.” It’s angsty and the lyrics are hilariously trivial, but behind those lyrics is an impressive chord progression that Eliza says she still enjoys.
When Eliza came to Colorado College she hesitantly entered the music scene. She started with nervous performances of covers at open mic night and ended up in a few student bands her freshman year.
It wasn’t really what she was looking for, but eventually she met the right people and found those that had interests more aligned with hers. She is currently in the band Randy and the Reptiles and is a member of Room 46, an a cappella group on campus.
“I don’t know if I ever felt totally comfortable voicing what I wanted to do at the beginning. It was definitely hard,” she said. “A lot of the guys wanted to play their electric guitars super loud and told me I could do the ‘belty singing’ part on the side, but I wanted to be more involved than that. I think Randy is really good about that.”
Once she started collaborating more and forging new relationships, she grew more comfortable in her abilities.
Her songwriting followed suit, and since her high school years, she’s developed a more advanced approach to writing. “Songwriting has gotten a lot less ‘me, me, me, I, I, I,’” she said. “It’s still a little that way… I have a long way to go and grow as a songwriter, and I think it progresses with each song. The way I would have written “Out of Here” is to just have written it and not gone back at all or reedited. Now it’s a lot more of piecing things together.”
Because she is so involved with various musical projects at school, Eliza has found that she hasn’t had as much time as she hoped for. She wants to focus more on her own work and get a better grasp on what exactly she wants to be doing. Her songwriting, while advancing, hasn’t been as much of a center point as she wants it to, and in the months to come she hopes to learn more about who she is as a musician.
“I was scared about post-grad in the fall but now it’s sort of fine,” said Eliza. “Working on music is something I’m thinking about, and I feel like at CC I’ve taken advantage of all the musical connections I’ve made with people, but haven’t focused on myself as much. But I don’t think that will hurt me at all. I do want to spend more time alone, reading and writing.”
I asked Eliza about her emotional connection to music, in which she shared the feelings of playing piano by herself in Shove. “Sound fills up a space with something,” she said. “It’s physical, it’s emotional, it’s everything. I feel like I have to do it. It’s comfort, emotional stability, relationships with people. Everything. It’s discipline, it’s something you work at, it’s a craft. Especially with songwriting, you can piece everything in there. It’s simply everything.”
Eliza’s commitment to her work is clear in her compositions. She does not just rely on her natural talent to carry her forward; she works for it, meticulously and persistently. Her devotion reveals itself in her creations and performances, and in the coming months, I look forward to seeing what she comes up with. If you haven’t seen Eliza perform, you should really try and catch her before she’s gone.