Where do I start? (Let me first sacrifice all objectivity. I'll just gush and you can then decide for yourselves.) Annette's songs are like windows with open shades-- revealing and personal. Better you not blink, because there's a lot happening. The really good songwriters have diffident, unassuming personalities offstage, but are powerfully evocative behind the microphone. This is especially true of Annette. She offers lyrics without a speck of cliche, accompanied by deft guitar work. She has upgraded her instrument selection since I saw her last; where once she sported a vernacular Guild, she now uses a top-end Takamine. Annette has God-given hands that are perfect for the fingerstyle work she extracts from the instrument. Her melodies are spiced with things Celtic, but more so they are her own-- fiercly non-derivative and (thankfully) indigo-free. Add to this the fact that Miss Gallant is easy on the eyes. "Like Morticia [of the Addams Family]," she quips. But instead I see a likeness to Julie Newmar's "Catwoman" ...and pardon me if this is uncharitable, but more than a passing resemblence to Cher. This last comment is probably better appreciated when we remember that Cher throws gobs of money at plastic surgeons so that she can look more like Annette.
What made the evening even more fun what the local music habitues who strolled in at various points during the night. Our hostess, Carey, shared amusements with fellow songwriter (and coincidently, my junior high school alumna) Gina DeSimone. The Fairy Godmother of Us All, Sara Landymore, is captured here with her most classic accoutriments. Sara also took the stage to add harmonies to one of Annette's songs. The yeoman of the soundboard was none other than Carey's husband, Granger Helvey. Treasured fans Elisabeth and Patty were divas for a night.
Annette does not have a webpage that I know of, but Carey sure does. While you're at it, visit Sara Landymore's burgeoning web community.
