Published Tuesday, November 22, 2011.
Dana LaCroix masters the art of connecting with audience
http://www.otownscene.com/2011/11/22/dana-lacroix-masters-the-art-of-connecting-with-audience-at-theater/
By Shirley O’Shea
Canadian-born singer-songwriter-acoustic guitarist Dana LaCroix has a voice like a suede jacket trimmed with lace. And rhinestones. And a few chains dangling from the pockets.
Indeed, LaCroix is sporting a hip-length suede number, with long fringe, in a sepia-toned photograph on the inside of her new CD, “Jump In.” But her performance at the Oneonta Theatre on Saturday night, which featured a collection of American musical styles ranging from folk ballads to blues to rock ‘n’ roll, tailored to LaCroix’s very feminine vocal tone and stylings, had more in common with the aforementioned imaginary garment.
Don’t let the phrase “very feminine” fool you. Feminine sensibilities are not always what you expect they will be, and LaCroix’s songs: whether her own or her renditions of those penned by others, reflect that fact, lyrically and musically.
LaCroix played on the stage of the theater’s intimate balcony, and began her set solo with “Stand My Ground,” before a screen filled with stars in an upstate, or Canadian woods, sky. It was as if she were telling the audience that she is here to stay and is going to make her music, come what will.
After an exuberant performance of the title track of her first CD, “Faith in You,” two players in LaCroix’s band (all of whom can only be described collectively as Dana’s guys, so amiable a musical relationship do they seem to enjoy), drummer Jakob Rostboll and bassist Adam Armstrong joined her on “Keep Me Company.” They were soon followed by lead guitarist Pete Smith (note: lead guitarist on the CD is Chris Biesterfeldt), whose playing as the show progressed grew ever more intense. Both Armstrong and Smith displayed impressive range on their respective instruments. Smith’s playing was light and sophisticated on “As Far as I Can See” and down and dirty on the title track of “Jump In,” a sure-to-be-a-favorite song off the same CD, “Cinderella’s Sister,” and a great Lyle Lovett number, the bluesy “My Baby Don’t Tolerate.” LaCroix and Armstrong performed as a duo on John’s Mayer’s “Stop This Train,” the CD’s closing track. Armstrong’s intricate playing was a highlight of the show.
The audience was delighted when the Rev. Mark Montfort of Oneonta’s First Presbyterian Church and mandolin player Will Lunn of the Horseshoe Lounge Playboys (musicians “from both sides of the sin spectrum,” LaCroix told the audience) took the stage for a “sad and tragic” ballad of a “fallen woman” named Louise. The pastor provided vocal harmonies. It sounded as though there was a sound problem for Lunn’s mandolin during most of the song; fortunately, his solo could be heard without difficulty.
LaCroix’s songs (that is, those she writes herself) are vivid evocations of what have become American archetypes: searching for freedom on the open road, the joy of letting one’s inner bad girl out, even for a while, waiting for Prince Charming to ride up “on a black Harley.” Her songs suggest stories of which pop music listeners never seem to tire. “If you can survive being a teenager, you can survive anything,” she told the audience, after rocking through “Cinderella’s Sister.” LaCroix, lithe and energetic, has an adolescent muse coming through in her songs of longing and of a desire to “Take a Swing at the Moon,” off the current CD.
LaCroix has mastered the art of connecting with her audience. Of course, the intimacy of the Oneonta Theatre’s balcony made it that much easier, but her self-deprecating anecdotes and exhortations to the audience to get up and shake it brought the audience into her world.
Being a not-infrequent singer of love songs, LaCroix’s music does not shy away from pain, but it contains not a sliver of darkness. “Funny how the blues just cleans out your system _ isn’t that nice?” She shared with the audience. Nor does she seem to explore the depths of American roots music, as other performers do. It would be interesting to hear the results if she did. And perhaps she will. There is no telling in what directions she will be taking as she grows as a songwriter and performer, but it will be very entertaining, and likely very moving to find out.
Dana LaCroix masters the art of connecting with audience
http://www.otownscene.com/2011/11/22/dana-lacroix-masters-the-art-of-connecting-with-audience-at-theater/
By Shirley O’Shea
Canadian-born singer-songwriter-acoustic guitarist Dana LaCroix has a voice like a suede jacket trimmed with lace. And rhinestones. And a few chains dangling from the pockets.
Indeed, LaCroix is sporting a hip-length suede number, with long fringe, in a sepia-toned photograph on the inside of her new CD, “Jump In.” But her performance at the Oneonta Theatre on Saturday night, which featured a collection of American musical styles ranging from folk ballads to blues to rock ‘n’ roll, tailored to LaCroix’s very feminine vocal tone and stylings, had more in common with the aforementioned imaginary garment.
Don’t let the phrase “very feminine” fool you. Feminine sensibilities are not always what you expect they will be, and LaCroix’s songs: whether her own or her renditions of those penned by others, reflect that fact, lyrically and musically.
LaCroix played on the stage of the theater’s intimate balcony, and began her set solo with “Stand My Ground,” before a screen filled with stars in an upstate, or Canadian woods, sky. It was as if she were telling the audience that she is here to stay and is going to make her music, come what will.
After an exuberant performance of the title track of her first CD, “Faith in You,” two players in LaCroix’s band (all of whom can only be described collectively as Dana’s guys, so amiable a musical relationship do they seem to enjoy), drummer Jakob Rostboll and bassist Adam Armstrong joined her on “Keep Me Company.” They were soon followed by lead guitarist Pete Smith (note: lead guitarist on the CD is Chris Biesterfeldt), whose playing as the show progressed grew ever more intense. Both Armstrong and Smith displayed impressive range on their respective instruments. Smith’s playing was light and sophisticated on “As Far as I Can See” and down and dirty on the title track of “Jump In,” a sure-to-be-a-favorite song off the same CD, “Cinderella’s Sister,” and a great Lyle Lovett number, the bluesy “My Baby Don’t Tolerate.” LaCroix and Armstrong performed as a duo on John’s Mayer’s “Stop This Train,” the CD’s closing track. Armstrong’s intricate playing was a highlight of the show.
The audience was delighted when the Rev. Mark Montfort of Oneonta’s First Presbyterian Church and mandolin player Will Lunn of the Horseshoe Lounge Playboys (musicians “from both sides of the sin spectrum,” LaCroix told the audience) took the stage for a “sad and tragic” ballad of a “fallen woman” named Louise. The pastor provided vocal harmonies. It sounded as though there was a sound problem for Lunn’s mandolin during most of the song; fortunately, his solo could be heard without difficulty.
LaCroix’s songs (that is, those she writes herself) are vivid evocations of what have become American archetypes: searching for freedom on the open road, the joy of letting one’s inner bad girl out, even for a while, waiting for Prince Charming to ride up “on a black Harley.” Her songs suggest stories of which pop music listeners never seem to tire. “If you can survive being a teenager, you can survive anything,” she told the audience, after rocking through “Cinderella’s Sister.” LaCroix, lithe and energetic, has an adolescent muse coming through in her songs of longing and of a desire to “Take a Swing at the Moon,” off the current CD.
LaCroix has mastered the art of connecting with her audience. Of course, the intimacy of the Oneonta Theatre’s balcony made it that much easier, but her self-deprecating anecdotes and exhortations to the audience to get up and shake it brought the audience into her world.
Being a not-infrequent singer of love songs, LaCroix’s music does not shy away from pain, but it contains not a sliver of darkness. “Funny how the blues just cleans out your system _ isn’t that nice?” She shared with the audience. Nor does she seem to explore the depths of American roots music, as other performers do. It would be interesting to hear the results if she did. And perhaps she will. There is no telling in what directions she will be taking as she grows as a songwriter and performer, but it will be very entertaining, and likely very moving to find out.