Standing in the thick of the crowd at London RibFest, you don’t just hear Laura Gagnon; you feel the vibration of a performer who refuses to be ignored. It is a humid afternoon, the air heavy with the scent of charcoal and cheap lager, but when she launches into Heart’s "Barracuda," the atmosphere shifts. She isn't just a local singer filling a slot. She is a powerhouse. Most artists in this city pick a lane and stay there, but Gagnon is a different breed of animal, pivoting from high-octane rock covers to the vulnerable, cinematic sweep of her original compositions like "In Your Eyes" and "Magic Horse."
Her resume reads like a fever dream of a career. One minute she is leading a full band through classic rock staples, and the next she is standing on the hallowed ground of Vimy Ridge, representing Canada on the world stage. But to understand the grit behind the glamour, you have to look at the foundation. This wasn't a career manufactured in a boardroom. It was built in a basement.
Gagnon remembers the origins of her obsession with clarity. It wasn't about fame or the neon lights of a stage. It was about the physical presence of the craft. She recalls the early days of watching her parents work through their sets, a memory that seems burned into her DNA.
"I used to watch my parents rehearse in our basement and fall asleep under my mom’s keyboard. There’s a picture of me standing on a piano bench in front of a stack of keys! I fell in love with the feeling of music when I was very young and decided I wanted to feel it all the time. That’s when I knew, I wanted to be a musician," she says.
That immersion defines her. For Gagnon, music was never a hobby. It was the family business, a collective effort that turned their household into a perpetual rehearsal space. This wasn't just about learning chords; it was about learning how to exist within a sound. The kitchen wasn't just for cooking; it was a dance floor and a vocal booth.
"My parents used to practice in the garage and I’d be in the kitchen next to it dancing and singing to all the tunes! I think that’s when I learned I could sing harmonies. I’d hear them write their songs and I loved listening to my parents playing together, singing together; definitely a strong musical unit. We were one unit, us three always singing and playing together, no matter where we went," Gagnon explains.
The spontaneity of that upbringing is rare in an age of over-produced, sterile pop. There is a sense of joy in her history that translates to her live performances. She describes a family that lived in a constant state of performance, whether the audience asked for it or not.
"Even at restaurants, we would hear it was someone’s birthday and we’d randomly sing Happy Birthday to them in three part harmony. Sometimes when my friends would leave my house to go home, we would sing 'Goodnight Sweetheart' as a send off," she says.
But don't mistake that wholesome background for a lack of edge. Gagnon possesses a vocal versatility that she describes with a certain amount of swagger. She knows she can belt, but she also knows how to pull back, creating a tension that keeps the audience leaning in. It’s a calculated mix of grit and polish.
"Lots of soul and 'tude'! I’ve developed this arsenal of vocal tricks that I love to use tastefully – it’s an edge with a soft touch. You’ll notice a lot of my songs are theatrical or would sound like a movie soundtrack to a romance film or Disney movie. You could also find my music in something like a Cheeky Rom Com," she claims.
The "theatrical" label is accurate. There is a widescreen quality to her solo work that feels out of place in a small club. It demands a larger canvas. Yet, many local fans still associate her with the high-energy "rock" persona she cultivated with The Rockin’ Laura Gagnon Band. It was a period of her career defined by leather jackets and soaring Heart covers.
And if you thought she was leaving that rawness behind, think again. The transition from rock frontwoman to solo artist wasn't a departure; it was an evolution. She is currently blending those worlds, refusing to let the "rock" side of her identity gather dust.
"It’s funny you should mention my 'rock' days! I’m actually working on new singles that have a more rock edge to it. Still poppy and R&B; just dirtied up a little," she says.
That "dirtied up" sensibility is what makes her interesting. It’s the same grit that allowed her to stand in front of international dignitaries in France and hold her own. Singing the national anthem at the Vimy Ridge Memorial and the Armistice wasn't just a gig. It was a collision of art and history, a moment where the weight of the past met the power of her voice.
I used to watch my parents rehearse in our basement and fall asleep under my mom’s keyboard. ...I fell in love with the feeling of music when I was very young and decided I wanted to feel it all the time. That’s when I knew, I wanted to be a musician.
"I was invited to sing for 'Maples For Vimy' tree planting. Girl Guides and Scouts from across Canada and France got together and planted living memorials of honour at all the battle sites around Arras, France. I got to meet so many amazing veterans and hear some of their stories. This was also the first time Germany and France formed a treaty. WOW that was something! To be a part of history and seeing these amazing children hold the Canadian flags - I was honoured and so proud. When you see a little French girl dressed in red and white wanting to visit Canada for the first time, learning some of the language so she could say 'Hi', THAT makes me so proud to be a Canadian," she recalls.
But back home in London, the reality of being a woman in the music industry is often less about honours and more about survival. Gagnon isn't just a performer; she is an advocate. She founded the Doll House Showcase as a direct response to the isolation many female artists feel in a scene that can often feel like a boys' club.
"Creating a safe place for Women In Music was really important to me. It’s an opportunity to meet like minded female musicians and help each other climb the ladder to success. No one should feel like they are alone," she says.
The necessity of the Doll House is backed by years of navigating a lopsided industry. Gagnon is blunt about the double standards that still plague the circuit. There is a persistent, nagging expectation that women are either less capable or more easily manipulated.
"I feel that sometimes we are pushed into a category that says 'Gullible' or 'Can be taken advantage of just because I’m a girl'. Women have had to work harder than men, yes, and I feel in a lot of ways we still do, but the amazing part about this is that most women are now speaking out about it and working together to change things, and it’s working," she explains.
She has lived through the condescension. She has been the person on stage with the microphone, only to be treated like a secondary character in her own story. It is a common experience for women in the arts, but Gagnon has reached a point where she no longer tolerates the ignorance.
"I used to. 'Oh, are you the drummers’ roadie?' 'You must be one of the band’s biggest fans, what’s it like following them around to every show?' There comes a point when you realize you need to put on a 'strong face' be a leader, be bold and take control of every moment. Never brush anything off and always correct them," she says.
That boldness translates into her songwriting. "Magic Horse" and "In Your Eyes" aren't just pop songs; they are manifestations of her emotional state. They carry a cinematic weight that she attributes to her romantic outlook on life.
"Thank you!! Magic Horse was a call out to the universe for me. To find that man in my life - my true love. I’m a huge romantic and love writing these kinds of songs. I had amazing musicians and producers collaborate with me on this one and still have bigger plans in the future! There is still a lot of momentum left on this song! In Your Eyes, I wrote as a challenge to myself. I wanted to write a song from the perspective of two peoples’ thoughts while they danced their first dance as a couple," she explains.
Gagnon’s perspective on the regional music scene is equally sharp. Having spent time in Ottawa, she can dissect the sonic differences between the capital and London with clinical precision. She views the geography of Ontario through a genre-based lens.
"I found that Ottawa is like a little Nashville, a hidden gem everyone always glazes over. Lots of talent there. London is also another diamond in the rough. Good to start out with, lots of support! As for the sound, and we’re talking about the pop side of things, it is very pop based with a touch of folk/rock. London is very country based with a touch of folk/rock. That’s how I would describe it," she notes.
Her songwriting process is less about waiting for a lightning bolt of inspiration and more about being observant. She is a magpie of sorts, picking up fragments of dialogue or a specific rhythm and building a world around them.
"It could be as simple as a good quote or a line in a movie or show, or as complex as the end of a relationship. Could be adventures I go on or maybe I’m feeling sassy that day and write a kickin’ hook. Recently I’ve been starting with drum beats and then it goes on from there," she says.
The industry is brutal, and many artists wash out before they ever see a stage outside their hometown. Gagnon has faced the same walls as everyone else, but her reaction to adversity is to double down. It is a stubbornness that is required for longevity.
"Usually when things get hard, I go even harder. You can’t just give up on your dream just because it’s tough. Make the dream work by doing the work," she asserts.
Her influences are as formidable as her work ethic. She looks to artists who have managed to maintain their integrity while operating at the highest levels of the pop machine. Alicia Keys and Lady Gaga aren't just singers to her; they are blueprints.
"I’ve always admired Alicia Keys, her willingness to be real and live each day so grateful for the next. Lady Gaga is another one who hits hard for me. She’s someone who is fearless, smart and an incredible musician. If I could open up for one of them some day, I would freak out!" she says.
When the pandemic brought the world to a standstill, many artists withered. The lack of a live audience was a death knell for the uninspired. But for Gagnon, the forced isolation became a period of intense productivity.
"It’s been really important for me to keep myself grounded. Whether it’s going for walks or learning new skills. I’ve never felt freer to create! Every day is a new song. Keeping myself inspired, keeps me motivated," she explains.
This resilience comes from years of experience on the road. One of her most vivid memories involves touring with "The McCartney Years," a tribute act that took her across the United States. It was a glimpse into the high-end side of the industry, a stark contrast to the DIY grind of the local club circuit.
"I toured with a tribute act called 'The McCartney Years' led by insane front man Yuri Pool – we traveled about four years all throughout the States. I remember arriving in New Mexico and being picked up by a Lexus SUV and another one behind it for our gear which was taken to the venue, and then afterwards to this swanky hotel. As we arrived, we each had our own bell hop who took our stuff up to our rooms. We arrived at the venue and our gear was already set up and lined checked. We were just there to make sure it was what we liked. We did our show, left our gear and in the morning we went back to pick it up and it was already packed up and loaded into our trailer! WOW! That was the first time I ever experienced that. Singing in France for the 100th Anniversary of Vimy Ridge was also amazing! We planted living memorials of honour with Scouts and Guides from Canada and France - what an experience!" she says.
Her career is a series of these high-stakes collaborations. She has worked with Dale Russell of The Guess Who and branched out into the American rap scene, proving that her voice isn't limited by borders or genres.
"I’ve done a bunch of Collabs! The most notable ones would have to be working with Dale Russell from The Guess Who. What a kind soul. Lots of love and hugs to him. I worked with a rap artist out of Rhode Island and that was the first time I wrote and released a song with an artist outside of Canada. Lastly, all the women in music that I’ve played, wrote and toured with. It was such a gift working with all of them," she says.
The technical side of her work is just as curated. She has recorded in some of the region's most respected rooms, working with producers who understand how to capture her specific blend of "soul and 'tude'."
"First is a Toronto based studio called 'Inception Sound', led by Platinum Producer Chad Irschik. EMAC out of London with guru Kyle Ashbourne, and finally, Blue Sound Music with mastermind Roy Hamilton, who I currently have the honour and privilege to be working with. Dreams really do come true," she says.
Laura Gagnon isn't just another name on a festival poster. She is a veteran of the stage and a champion for her peers. Whether she is singing an anthem in a foreign field or a rock classic in a local park, she is doing it with a level of intent that is becoming increasingly rare. She isn't just making music; she is making history.
Get Tickets
