Through its strings, Silent Sanctuary opens a window to classical music
Strings in Pinoy rock weren’t unheard of, but were typically reserved for special performances or added to recordings either for dramatic effect or as an unexpected flourish. But in the late 2000s, when so-called pogi rock ruled the airwaves, Silent Sanctuary broke through and set itself apart by becoming one of the first—and arguably the most well-known—bands to incorporate a dedicated string section and turn it into a defining part of its musical identity.
With strings helping drive its emotional, pop-rock ballads, Silent Sanctuary showed that weeping violins or cellos can pack the same punch as wailing guitar solos. They can also mellow a frenetic anthem. If you have heard them play “Laklak” live, you may have found that its rendition hits just as hard—but with sips of wine in between chugs of beer.
“You don’t traditionally see these instruments in a band, so naging distinct talaga ‘yung sound and image namin,” lead vocalist and guitarist Sarkie Sarangay tells Lifestyle Inquirer. “Full of emotions talaga ang string section. Mas nagiging madiin ang impact sa ‘yo, especially when you hear it in pop.”
Melding rock and classical music
But while strings have become synonymous with the six-piece band, not every song calls for them. Using them all the time would sound old real fast, Sarangay says. Still, after 24 years in the music scene, strings remain a recurring element across their discography—whether as lead instruments, accompaniment, or a source of percussive texture.
Founding member Anjo Inacay, former principal cellist of the Manila Symphony Orchestra (MSO), explains: “Yung mga exposure namin sa classical music, plus our experience playing symphonies, quartets, and solo pieces over the years—doon kami nakakakuha ng ideas and inspiration na pwede naming itahi sa rock or OPM.”
And that years-long practice of weaving classical influences into rock will be brought to a larger scale at the band’s two-night “Gabi ng Lambing” concert at the SM Mall of Asia Arena on Oct. 24 and 25. Featuring the MSO and the Viva Voce vocal ensemble, the shows promise to be a full-fledged “rockestra.”
Silent Sanctuary has had similar outings with orchestras in the past, but only as a guest act. This time, the group has put together a 30-song setlist—their most extensive yet—spanning greatest hits like “Ikaw Lamang,” “Pasensya Ka Na,” and “Bumalik Ka Na Sa ‘Kin,” as well as newer material like “Una.”
“It’s always a challenge for us to infuse the spirit of classical music into our compositions, but in these shows, we will actually be able to expand on those ideas,” Inacay says.
Yearning knows no generation
It might be surprising to some that Silent Sanctuary—also composed of Kim Mirandilla-Ng (violin), Ronnie Ropal (bass), Allen Calixto (drums), and Poch Villalon (keyboards)—has never held a major arena concert. The band is just as clueless as to why it took this long, except that perhaps the right time simply hadn’t arrived—until now.
“I think nahinog na rin kami sa tugtugan sa tinagal namin dito. Why not have a concert?” Sarangay says. “Thankfully, our stars aligned.”
Because, to be perfectly candid, they admit, the planning for the shows started as nothing more than “usapang tambay”—a flurry of ideas and a whole lot of wishing. That they found sponsors willing to make it happen was completely unexpected. Determined to ensure a decent turnout, the band had already laid out a promotional strategy leading up to showtime.
On the day tickets went on sale, Villalon grew so anxious that he decided to sleep it off, only to wake up five hours later and discover that the Oct. 25 show had already sold out. Demand was so unexpectedly strong that they added another date on Oct. 24.
It’s not something they often ponder, but at that moment, the band realized just how much of an impact their music had on people. What was more heartening about the response was that the excitement didn’t come only from their core millennial fan base, but also from younger listeners who discovered their music through their elders or just stumbled upon it.
Indeed, hugot and yearning know no generation. “‘Yung panliligaw, being in a relationship, heartbreak—I believe those experiences and feelings stay the same,” Sarangay says.
Now at their ‘peak’
Seeing their music and message expressed in its fullest form with a sold-out orchestra concert feels like “the band’s peak.” They still have plenty of goals and look forward to what the future holds, but for now, they hope to continue using their music “as a window to classical music.”
They want to make every instrument shine so that those unfamiliar with them may leave the show not only with hearts full of their music, but perhaps also “with a new appreciation of what an oboe or clarinet sounds like.”
“For some fans, it might be their first time seeing a 40-piece orchestra live and hearing what it sounds like when it comes together with a rock band,” Inacay says. “I’m happy our music allows that. And if it inspires one or two people to pick up a violin or cello, then our purpose is fulfilled.”
