Behind The Curtain: Selena Evangeline
- Erin McCallum
- 8 hours ago
- 6 min read
Each edition of Behind The Curtain begins with a brief explanation of the column’s purpose and process. Every instalment brings readers something exclusive about an artist whose career places them at the core of the Canadian Blues music Collective. This is achieved by combining research, an investigative approach, and going ‘straight to the source’ to quell curiosities that sit within an artist’s biography. What readers find here is a deeper insight about the featured artist, and the music Collective itself. It should also be noted that readers are always encouraged to discover more about the artists featured here via independent research; all artists highlighted in Behind The Curtain have extensive and accessible biographies. The biographical information found here is included for the purpose of substantiating this particular investigation, and putting the resulting record into context.
For this edition, singer, songwriter, and instrumentalist, Selena Evangeline, offers readers insight by sharing her perspective and processes. Although she’s multi-faceted, and actively immersed in the music industry as a professional in each of her disciplines, this investigation focuses on Evangeline’s career and skillset as a vocalist. After a couple of years of study, the objective interest consistently lands on the fact that Evangeline’s work as a vocalist is diverse in approach and execution. Perhaps one of the most notable aspects of her work is that Evangeline takes on two very different roles as a vocalist with equal expertise: lead and backup. There’s merit in looking within Selena Evangeline’s bio and putting her perspective on record; her career itself lends credibility to the conversation, and has the ability to offer readers insight that reaches beyond her professional record.
It is worth mentioning that Evangeline’s vocals have been heard across mediums throughout the course of her career; her music has been heard in live forums, as well as radio and television (Much Vibe, and MTV1, to name a couple). Her recorded work includes two commercial albums, and her vocals have spanned the genres of Pop, R&B, Soul, Motown, Jazz, and Blues.
The first curiosity to be addressed directly with Evangeline focuses on the diversity of her professional record. Knowing that her professional record includes multiple genres, the first curiosity is in knowing if that diversity is perhaps the signature of a working vocalist, or if it’s evidence of wider tastes and influences. Evangeline offers:
“It’s a bit of both. I discovered in high school that I was being ‘typecast’ into certain vocal roles, and it gave me an awareness that I wanted to be versatile. If music is good, it’s not about genre – it’s about being up to the challenge.”
As aforementioned, one of the things that makes Evangeline identifiable, beyond her voice itself, is that she actively addresses two very different roles as a professional vocalist. She has successful experience and execution stepping ‘out front’ and performing as a lead vocalist, and, to an equal degree, has the ability to provide other lead vocalists support as a backup vocalist. Both roles objectively require different methods, and for this investigation, learning more about Evangeline’s approach to being in a supportive role as a vocalist will likely provide readers with a deeper insight about her professional work in a broader way. When discussing the differences between being a lead vocalist and singing back up vocals, the contrast between the two roles becomes clear. While describing the things she considers crucial to the role of being an effective supporting vocalist, the first signs of a common thread woven through the fabric of Evangeline’s practice also start to emerge:
“Multiple things are needed to fill the role of a supporting vocalist that are very different than lead. Having a good grasp of harmonies, and specialized ear training are critical components of being a back up vocalist. As a backup vocalist, you develop a very strong awareness of what it takes to serve the song by supporting the lead vocalist. Being able to play well with others is important; blending sounds, getting to know someone else’s style, and moving as a collective unit are all important aspects. It’s also important for anyone who is aspiring to be a singer in a supportive role to check their egos at the door – you are there to let the lead artist shine in a supportive way, and when that happens, that’s when you know it’s a job well done.”
In pursuit of providing further insight for readers, it’s an appropriate setting to pose a question that some may consider ‘loaded’. When asked “What makes for a good singer?”, it’s important to note that Evangeline offers a clear disclaimer that her description or definition is strictly from her perspective, and that many definitions can be considered credible, based on what their personal opinions are:
“The idea of being a good singer is subjective, and the idea of technique being the ‘measuring stick’ is part of that subjectivity – there are plenty of singers who get by without that technical approach. What makes a good singer, in my opinion, is whether someone is able to convey a message. There are things that I think are important in helping to be effective; pitch, tone, phrasing, and overall approach, all help with respect to carrying a message forward effectively. I also think that versatility is part of being a good singer. Being able to apply all of those components are also important aspects of being a good singer.”
Evangeline’s words ‘for the record’ continue to provide readers with a broader idea of a commonality that serves as a nucleus to her approach as a vocalist – her advice to aspiring artists provides enough evidence to draw conclusions:
“Professionalism is so important. Be on time, be prepared – and be prepared to check your ego at the door; if you’re easy to work with, you’re more likely to get a call back. There are many directions that an aspiring singer or artist can follow in the music business - know the facet of the industry you want to be in; making connections making good impressions are also helpful in finding solid ground in a professional setting. Always try to be your best at every performance – never ‘call it in’. “
This conversation accomplishes two things – it takes readers on a journey ‘behind the curtain’ while also putting a credible member of the Canadian Blues Collective into sharper focus. Based on what’s been put on record in this investigation, it’s fair to conclude that Evangeline’s entire career is founded on, and continues to be driven by being the best singer she can be. From choosing versatility over being ‘typecast’, to her advice to aspiring singers, and in the idea that being effective in delivering a message makes an individual singer their best, all share that notion.
In closing the conversation, Evangeline leaves readers with a final exclusive offering to be added to the record:
“My perspective is constantly evolving. In the past several years, I’ve realized more than ever that I’m surrounded by some amazing musicians. I consider it a blessing because they continue to inspire, teach, and shape me.”
As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out more about the music and career that substantiates these conversations. In Selena Evangeline’s case, readers have gained insight into the role of a professional vocalist, while also learning something exclusive about her specific approach via direct conversation. This article is a regular monthly contribution, published exclusively in the Sound Café magazine with the intention of providing a deeper insight into the Canadian artists who are at the core of the Blues music Collective.
Touring blues musician, Erin McCallum's formal post-secondary education was in media studies (news, radio), graduating from Humber College in Ontario, she went on to be mentored by Canadian News Hall of Fame inductee, Robert Holiday, and she is a regularly published writer in music and investigative journalism, having focused on music for the last six years. Erin has an exclusive monthly column in The Sound Cafe featuring musicians and industry professionals from across Canada who work predominantly in the Blues & Roots genres.
Erin McCallum. Big Voice. Big Sound.
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