a strong musical presence who will likely be heard from in years
-- Charles Earle, In Review
INK 19 PERFORMANCE REVIEW by Phil Bailey
of Kat's Performance at the Fall For Art Festival
Louisiana's annual "Fall for Art" festival features gallery
openings, open studios, music, and lots of free wine.
The entire event takes place in downtown Covington, where
they block off the streets to allow easy access. A small
stage set up in the middle of the street in front of the
spa and store Earthsavers featured local band Invisible
Cowboy and Nashville's Kathleen LaGue.
had seen Kathleen LaGue this past March at South By Southwest.
Regretting that I had to leave her set early, I was looking
forward to seeing her play again. She played a solo acoustic
set featuring many songs from her self-titled CD. Despite
the acoustic guitar, LaGue is hardly a folkie. She likes
to rock, but prefers an acoustic guitar channeled through
a Sovtek Big Muff pedal. In addition to her new songs,
she debuted a couple of new songs, including her "Wizard
Of Oz Song" that she co-wrote with Jennifer Marks. Her
new songs are strong and feature a refreshingly bouncy
sense of humor. She also threw in a few clever covers,
like Patsy Cline's "Walking after Midnight" and Carole
King's "Will You Still Love Me Tomorrow?"
LaGue's set, the solid New Orleans' bar band Invisible
Cowboy took over playing what began as a nice mix of covers
and originals, but soon the originals became fewer and
fewer as the set progressed. Midway through the set, Kathleen
LaGue strapped on her Fender electric and played some
songs with Invisible Cowboy, including her "Object of
My Addiction." After she wrapped her segment, the band
continued with diverse covers like "Werewolves of London,"
"Low Rider," and several from the Rolling Stones."
PHILADELPHIA SONGWRITER'S MONTHLY QUOTE
charmed the crowd with her infectious
personality and schoolgirl charm."
Kat's Performance at the ROCKRGRL Conference
2000 By Linus Gelber
LaGue is up next, clad in feline and leather, and she plunges
into a terrific solo set, digging in her spurs with total
commitment and seasoned style. It sucks being the solo act
right after the band, but Kathleen takes it right in long-legged
stride. She's just had a couple of weeks on the road, so
she's warmed all the way up -- she hails from Nashville,
but I've seen her in New York, in Philadelphia, in Austin,
and now here. That kind of road warrior schedule turns you
firm and facile on stage, and Kathleen is poised and at
ease with her stripped-down strong-tempo rock and her clear,
supple voice. "
SPINRECORDS.COM ALBUM REVIEW
Tennessee pop pinup Kathleen LaGue has got the right stuff.
From her self-penned hook-spun yarns to her sultry, wet-lipped
cover photo she is poised for attack. Sometimes bordering
on alternative, yet deeply popified and vaguely modern
country & western, LaGue's tones utilize heavy guitar
(although studio processed) and splashy drums on tracks
like "Hear My Confession" vacillating to a lighter jazz
color as depicted in the intro to "Drive Right Into The
Sun." A myriad of textures make this a perfect pick for
someone who's looking for Shania Twain without the "twang."
Nicely flowing lyrics and melody with a touch of sensuality
delivered with an innocent school teacher diction on "Diamonds
In Quicksand" will quicken pulses with lines like, "He
fucked it up, so good luck. He let it slip, like diamonds
in quicksand." The packaging is pro, as is the mix. Whatever
they teach in Pop Diva School, Kathleen LaGue is most
definitely following the rules, so keep your ears and
eyes peeled for the emergence of this budding artist.
IN REVIEW QUOTE by Boyer Barner
"She can rock and write. Basically--Kick Ass."
19 PERFORMANCE REVIEW by Phil Bailey
Exclusive Interview with Ink 19
humble beginnings on the prairie, Kathleen LaGue has herself
poised for a run at the big time. She's achieved this
through a solid work ethic. The fashion model turned singer/songwriter
is getting a great deal of buzz with her self titled debut
album, released on her own label, Lioness Records. LaGue
has logged the miles on the road playing clubs, but also
has sprinkled her resume with high profile gigs like opening
for John Hiatt and a segment on CNN's Showbiz Today. I
first encountered Kathleen playing one of those private,
industry schmooze parties at SXSW this past March. She
recently took time out of her hectic schedule to discuss
the use of the Internet to market music, Metallica's Napster
lawsuit, and what it's like being a rocker in Nashville.
IN REVIEW 8/31/99 by Charles Earle
is an immensely talented local who has the potential to
be a success in the modern-rock genre......the ballad
"Unglued"....is one of the best female rock ballads I've
heard in recent memory. LaGue's deliveryis flawless, and
her emotions are as raw as can be....It's a guaranteed
smash hit..... LaGue.... a strong musical presence who
will likely be heard from often in years to come."
THE TENNESSEAN ALBUM REVIEW 8/18/99
by Rick De Yampert
"Don't call Nashville artist Kathleen LaGue the proverbial
"girl with a guitar." Well, yes, LaGue does guitar-based
modern rock. But her new self-titled album finds her neatly
working the turf between Sheryl Crow's Rolling Stones
fetish and Alanis Morisette's I'm-a-hurt-harpy attack.
LaGue cloaks her rock with ambient trip-hop grooves, cyberfreaky
noise and even some distorted bass that sounds like Godzilla
stomping down Lower Broadway. She even slaps some James
Brown funk onto her pop 'n' roll on the song "Be
THE TENNESSEAN ARTIST REVIEW 8/21/99
by Jay Orr
working the club scene and making key, career-building
appearances this year at Dancin' in the District, the
NEA's Extravaganza, the Les Femmes Qui Rock showcase and
the South By Southwest music conference in Austin, TX,
modern rocker Kathleen LaGue is ready to unleash her debut
CD, an 11-song effort on Lioness Records. "I don't feel
like baring my soul/I don't want to bear yours," she sings
on the slightly funky Be Myself. "All I wish is to be
myself." If she's not eager to bare her soul--LaGue still
writes intensely personal songs--she's certainly not hiding
her feelings, either. In the ethereal, U2-ish opening
track, Play One For Me, she's not happy being a shadow
in the crowd. A Kansas native, LaGue did time in New York
City, playing in rock/pop and soul bands before relocating
to Nashville. She'll celebrate the release of her self-titled
debut with a show at 9:30pm tonight at 12th & Porter
THE TENNESSEAN QUOTE by Rick de Yampert
crafts smart pop rock that isn't riot-grrrl raw...but
certainly more adventurous and edgy than most of the Lilith
THE TENNESSEAN QUOTE by Rick de Yampert
music gets modern and edgy with a touch of Sheryl Crow
vibe here, a bit of Alanis Morissette attitude there"
THE TENNESSEAN QUOTE by Rick de Yampert
sure to check out LaGue. Such songs as 'Over My Head'
and 'Who Am I' sport tangy guitars and lots of pop smarts.
... She walks somewhere between Sheryl Crow and Shawn
Colvin and skips down that path with a nifty balance of
SWAGGER and FUN."
IMUSIC PROMOTION ALBUM REVIEW by Scott Meldrum
LaGue's self titled release holds the promise for women
who rock! Her ability to know "when" and "how" to rock
is what puts her well ahead of the rest of the emerging
talent pool. LaGue packs the wallop with all of the aggression
found in music by alterna chick acts like Hole and Tracey
Bonham. This is far from a summation as LaGue's softer
side brings the listener serenity- the melodic equivalent
of lulling you into false sense of security just before
she pounces. It's no wonder her cd is released on "Lioness"
Kathleen LaGue can indeed rock. And while she has a softer
side, her songs represent a well balanced mixture of both
harder-edge pop fair and singer/songwriter sensitivity
that communicates the emotional lyrical content very well.
This makes LaGue a master of deception and intensely honest,
at the same time.
Stand out tracks include "Play One For Me", "Drive Right
Into The Sun" and "Object Of My Addiction".Fans of Hole,
Merideth Brooks and Beth Hart will find a home in this
music. LaGue has been making the rounds at radio and is
receiving critical praise from industry and audience alike.
This debut effort marks the start of what will no doubt
be a brilliant career.
19 ALBUM REVIEW by Phil Bailey
though I had seen Kathleen LaGue play a solo acoustic
set, it hadn't prepared me for her self-titled album.
I was taken aback somewhat by the verve and polish LaGue
displays on the record, as I was expecting something far
simpler. LaGue's lyrics, which could work in a variety
of arrangements, here are wrapped around a very smooth
rock sound, firmly rooted in Seventies rock, with a sprinkling
of funk and a smidge of soul. Think Sophie B. Hawkins
singing with Steely Dan. LaGue is at her best with the
brasher songs like "Over My Head." She doesn't seem to
have as sure a footing on the disc's ballads as she does
when she can rock out. Without feeling pre-packaged or
plastic, Kathleen LaGue looks to have a nice career a
head of her filling the gap between Lilith Fair and Kill
Rock Stars. Kathleen LaGue could make you want to listen
to the radio again.