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Report by Anne Pizotes
Click here to view Anne's Pictures
 Saturday
night, Pride 2005 and Deborah Harry had just rocked the
house. Takes a lot of chutzpah to follow Deborah Harry
and that’s no lie. We didn’t have to wait too long for
emcee Julie Brown to introduce Lucy, which provoked a
roar of expectation from the crowd, as the beginning
notes of the France Joli hit “Come to Me” reverberated
through the night air. Unfortunately, as soon as the
beat of the music started it was accompanied by a
static-y buzz from the sound system which would plague
the entire song. As three male dancers went through
their moves we could hear Lucy singing alluringly
offstage, “come to me, come to me” over the pre-taped
music. She soon sauntered sensually onstage in total
diva mode but when she started singing her microphone
was off so we couldn’t hear her voice. A stagehand ran
onstage and adjusted the wireless microphone pack on her
back, ran off and there was still no sound, though Lucy
was gamely carrying on with the lyrics. The stagehand
ran back on, adjusted again and finally we could hear
Lucy, albeit amidst the continuous buzz and occasional
squeal of feedback.
She looked smashing in an oh, so short dress that clung
to her luscious body like nobody’s business and sported
a long curly blonde wig and gold glittery eye shadow
that looked fabulously glam. What with the way she was
bustin’ some seriously sexy moves on us and finally
being able to hear her sing, the excitement level shot
up to the night sky and many a woman’s lusty scream was
heard throughout the song.
After the first verse Lucy gave us a gift in the form of
a beautiful message that went like this: “Babies, I love
you and I’ve waited ten years since Xena Warrior
Princess to say that if you hadn’t come to me then I
just wouldn’t be here, so I love you.” I remember that
when I heard it live I couldn’t really make out most of
what she was saying, as the sound was so lousy, so the
impact of what she was trying to convey to us that night
was lost on me, as I’m sure it was lost on most of the
audience, but upon viewing the video I’ve been deeply
touched by this message of love and gratitude that she
was sending to her lesbian and gay fans.
One of the male dancers then joined her for a sexy duet
but his handheld mic wasn’t any better—non-existent at
first and full of buzz and feedback when he was
eventually, barely heard. I must say, that if that guy
who sang with her had been a gal there would undoubtedly
have been a spontaneous collective orgasm from all the
lesbians in the crowd as I’ve never seen Lucy dance with
such eroticism—it was intensely HOT, HOT, HOT there’s no
other way to describe it. That woman definitely knows
how to shake her groove thang.
Throughout the song Lucy repeatedly sent us her message
when she pointed to the audience as she sang, “I love
you and I thank you” (the latter not part of the
original lyric). For the finale the dancers boogied
around her then she dismissed each one and struck a pose
and our voices rose in adulation for this gutsy woman
who somehow managed to pull this song off despite the
initial glitches and the sound operators absolute
ineptitude.
That night I came away from her performance on an
electric Lucy high, but tonight I’m moved more
profoundly as I listen to her say those heartfelt words.
I hope she realizes that she’s got a bunch of fans for
life; through locusts, boogeymen and bad sound we’ll
follow her and support her, because she handles our
sometimes boorish fandom with grace and humor, because
she’s talented and she’s beautiful, but more importantly
she’s a good, true friend, a generous soul who gives us
more and more reasons through the years to love
everything Lucy.
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