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Canada’s Terra Lightfoot has a huge voice (a multi-octave mezzo-soprano), and, wielding a treasured Gibson SG she named “Veronica,” a big and gutsy guitar tone to match.
Photographs By Dustin Rabin
Canada’s Terra Lightfoot has a huge voice (a multi-octave mezzo-soprano), and, wielding a treasured Gibson SG she named “Veronica,” a big and gutsy guitar tone to match. The powerful double-barreled musical attack makes her latest album, New Mistakes [Sonic Unyon], simultaneously alluring and exciting. It’s packed with dynamics and moods, and it traverses styles from southern and classic rock to ambient to blues to echoes of Marc Bolan and T. Rex—all driven by Veronica’s chameleon-esque sonic talents.
What kicked off your love for the guitar?
When I was a kid, I took guitar lessons for six months after my mom bought me a guitar at a garage sale. Now, I don’t know if it was because I was just starting out, or because I was a girl, but the teacher said, “You don’t need to learn how to solo—just play rhythm.” So I spent the first six years learning how to play rhythm guitar. I never touched the fretboard above the 12th fret. It really rocked me when I finally realized I could solo. But I don’t fault that guy at all, because I spent so much time perfecting my rhythm chops and being able to back up other people—which became invaluable skills when I started writing my own tunes.
He certainly didn’t ruin your ability to write big licks. When I first heard “Paradise” and “Stars Over Dakota,” the guitar jumped right out of my laptop speakers.
I think this record was definitely about stepping into my role as a guitar player. I wanted it to be very much my voice. I want to