Bio & Press
Pierre Englebert lives a double life. By day, he is a professor of Comparative Politics and International Relations at a prestigious college in Southern California. By ..., huh, later in the day, he makes music, composing, recording and performing. His seven albums, released since 2019, combine pop-rock, classical and singer-songwriter influences, with a focus on melody, chord progressions, and harmonies. His lyrics are humorous, touching, and thoughtful. His entertaining solo public performances, in which he alternates between piano and guitar, are a blast, mixing music with comedy and storytelling. Then again, he wrote this himself.
But other people also say the nicest things about him.
“Arresting, unexpected and deeply funny, … witty and entertaining … attention to musical detail … complex chord structures and melodies …” - The Student Life, 2/3/2022
“Englebert knows his way around a tune, cast in a variety of styles …he’s consistently turned out some lovely hooks … constantly shifting between silly and serious … nods to Queen … and the Alan Parsons Projects at times … ELO-ish” - PopRock Record, 11/22/2021
“I couldn’t help but smile as I listened to whimsical lyrics … it’s hard not to be smitten by his music … influenced by epic bands such as Queen, Pink Floyd, Peter Frampton, and ELO” - Claremont Music Guide, Winter 2022 Issue.
“elegantly arranged pop music full of sophisticated chord changes and voicings... sinewy vocal melodies, complex arrangements and interestingly layered production choices. Fans of Neil Finn and Crowded House, XTC, Barenaked Ladies or Jellyfish may find some familiar touchstones here.” - Mick Rhodes for The Claremont Courier, 1/28/2021
“Brim with humor, warmth, and good will … catchy, inventive melodies propelled by natural, compelling harmonies. Pierre Englebert’s songs reward many repeated hearings” (Thomas Flaherty, Professor of Music, Pomona College).
“Unique vocal phrasing and singing style … sensitive [piano] playing … and expert use of dynamics … one of Englebert’s most charming attributes — his humor … an arresting vocalist, with a way of delivering a line that is quite unique, bringing to mind the great Colin Hay. On “Benign Bliss,” … Englebert creates a shimmering, Paul Simon-esque chorus.” (Mick Rhodes, Mick Rhodes and the Hard Eight)
“By far my favorite local musician … an exceptional pianist and guitarist and a prolific lyricist. I enjoy his live performances … which always makes me laugh …it's easy to be mesmerized (Rosemary Boone, “Miss Claremont”)
“A great listen. [Pierre’s] wry, yet thoughtful and sensitive lyrics are accompanied by lovely melodies—a testimonial to his ever-growing musicianship” (Ellen Harper, singer-songwriter, owner of Claremont Folk Music Center)
"Political scientist turned songwriter: Pierre Englebert Brings humor and heart to the stage... In his concerts, Pierre switches effortlessly between guitar and piano accompaniment, and takes his audience on an emotional journey through his songs. Whether it's a hilarious moment or a touching piece that brings tears to the eyes, Pierre's live performance are always a mesmerizing experience... [an] unforgettable night of music" (Pasadena Now, Feb 8, 2023)
About Pierre's album "Things Could Be Worse" (2023): "Pierre Englebert is an exceptionally talented multi-instrumentalist and gifted writer! “Things Could Be Worse” is brilliantly written, however not the kind of stuff you would listen to mindlessly in your car. Pierre’s songs are so dense with lyrical imagery you’ll need to sit and listen several times to appreciate them, or see him live to get an understanding of what’s up."
Rome Can Wait is a freewheeling romp through unexpected chord & melody changes and train-of-thought lyric that are affectionally categorized as “nerd rock” because it’s fun if your brain is engaged, but will knock you to the floor if you try to dance to it. His instrumental keyboard prowess is showcased on “I could have been a Sonata”, while “Conspiracy” is timely & relevant…sadly. “The Pregnancy Test” isn’t actually about lines on a stick, but rather a test of what humanity is really all about.
Every song in this collection requires at least a second listen, and is well worth it. I highly recommend checking out “Things Could Be Worse”. You’ll want to buy or download some of these because you will find something different every listen!" (Jimi Yamagishi, TheSongnet.org, October 2023)
Pierre Englebert’s “I Should Have Stayed in Our Own Bed” opens with a sharp, dry drum hit — nothing flashy, just precise and deliberate — the kind of intro that signals control.
Then, a short but expressive guitar solo slides in, polished and reminiscent of Clapton at his most restrained. It doesn’t overstay; it just sets the mood, subtle and intentional.
The verse enters gently, carried by a delicate arpeggio and a soft, elevated vocal delivery that feels vulnerable and composed. Englebert’s voice doesn’t force emotion — it simply floats, letting the words carry their weight.
The composition is rich in nuance, hinting at a lifetime of songwriting experience. It’s structured without being predictable, refined without being cold.
Lyrically, the track tackles the painful honesty of regret — a quiet meditation on betrayal, longing, and the messy aftermath of choices we can’t undo.
There’s a poetic depth here, an understanding of how personal failure can also be a shared human truth. A late appearance of a female voice adds another layer, almost like a ghost circling back to echo a past decision — not accusatory, but hauntingly present.
Touches of Bowie drift in and out — not in imitation, but in spirit. There’s a theatrical restraint, a careful shaping of mood and tone that refuses to rush.
The song doesn’t try to punch you in the chest. Instead, it builds a space around you — a space filled with reflection, doubt, and the bittersweet beauty of being human.
“I Should Have Stayed in Our Own Bed” is a standout — not because it shouts for attention, but because it whispers something that lingers long after the final note (Edgar Allan Poets, July 2025)