Networking Newsletter for Musicians

Volume 2- Tuesday, April 1, 2003

In This Issue:

THE EXPERIMENT!

Reviewing Toronto's Open Stages

NETWORKING 101

The Business of Music, Part 1 of 8. Featuring insights into the Canadian Music industry as presented by Bob Roper

GearBOX

Our Expose of equipment and home recording best practices

Reviews & Features

Gallant-ly Speaking-Attributes of a "Star Quality" performance

Get Ready for the "LOG BOMB"…

Independent CD Reviews:

Andrea Klas, Alex Murdoch and Rhonda Stakich

Archives

About GW Review

To subscribe to the GW Review send an e-mail to foxworth@sympatico.ca with SUBSCRIBE in the subject line

Gallant-ly Speaking--Attributes of a "Star Quality" Performance

By Amanda Harris

I met Tracey Gallant about a year ago at the old REPLAYS club on the Danforth. We were checking out an open stage upstairs called The Void Show, hosted by our friend, singer/songwriter Chris Casserly.

At that time, Tracey was playing in a classic rock cover band called The Tracey Gallant Band and she was just starting a new project-a duo performing original material.

I lost touch with Tracey for a while, but caught up with her again when she invited me to a new open stage at The Auld Spot Pub.

These days, Tracey can be found working with her "partner in crime" Troy Brooks performing all-original material as Black Eyed Susan. Tracey says they've been tossing around another name-Butch Velvet, which she thinks is cooler, but BES is already established. She can also be caught singing back up for local artist Adrian Breda.

The first thing that struck me about Tracey is her strong, penetrating vocals. Reminding me of such divas as Janis Joplin, Sheryl Crow or Ann Wilson, her soulful singing fills a room and will not go unnoticed.

I went to the Cameron House to see Tracey and Troy perform and also got a chance to catch Adrian Breda. Tracey and Troy opened up with a Tori Amos song, Little Amsterdam, followed by a showcase of inspired songwriting. The songs sounded like something you've heard before, but different. This only helped to draw in the audience at the filled-to-capacity venue. I always like going to the Cameron because our waiter, Ray, always ensures that we're taken care of.

Adrian Breda's performance followed Black Eyed Susan, presenting another all-original collection of classic love songs. Breda's piano-based performance had an easy-going groove, reminiscent of 70's style R & B.

The highlight of this show for me was getting a chance to see Tracey perform. Gallant has a natural stage presence that is always high-energy. Nothing looks forced when Tracey is on stage. Whether she's shaking a tambourine, or "shakin' her thang," she portrays an image of self-confidence and professionalism. The audience gets a sense that she's really enjoying what she's doing and, with a voice like that, why wouldn't she?

 
© Foxworth Productions, 2003. All rights reserved

Back to Candlelight Opera