The Show Must Go On Written by Queen Produced by Matt Waldrum Recorded and Mixed by Matt Waldrum at Compound Music House Drums and Bass recorded at The Greenroom Mastering - Gene Grimaldi at Oasis Mastering Guitar- Matt Waldrum Keys - Stephen Scarr Bass - James Rubel Drums - Steve Aho Choir Vocal Arrangement by Michael Washington Choir Vocalists - Michael Washington, Onikhol Wells-Howard, LaNiece Williams, and Brandon Howard Photography by Gabriel E. Photography Cover Design by Kay Bradford and John Coulter Make-Up and Styling by John Coulter Costuming and Concept - Tomasina Abate Copyright 2015 She rocks and rolls, mesmerizes and inspires: Tomasina blows audiences away. Loyal fans know her from Disneyland, where she regularly commands the elevated stage as it rises in futuristic Tomorrowland. On New Years Eve 2014, in front of Sleeping Beauty’s Castle, she rocked a massive gathering of 20,000+ celebrants. “There is a vibrant scene there,” says Tomasina of the fabled theme park. “It is like Disneyland has become my Sunset Strip, my Haight-Ashbury, my Woodstock.” Onstage, Tomasina reinvents classic rock anthems with her female point of view. Guns ‘n’ Roses, Iron Maiden Black Keys and White Stripes: Tomasina flips the script to reveal new facets in these machismo-fueled songs as she makes them her own. “This arch-type makes me powerful,” she says. And it carries a message for her young female fans as she adds, “You don’t need some dude to tell you that you’re great.” Tomasina’s own songs project similar attributes; soaring melodic lines that stretch her prodigious vocal range, rhythmic intensity, and compelling choruses. “Hell for the Queen,” a savvy observation on celebrity worship, and the inevitable crucifixions that follow, and “Open Up,” a declaration of setting oneself free, are representative of these crowd-moving anthems. Originally from Long Beach, California, Tomasina has rocked venues from Tokyo to Monte Carlo and back to Hollywood. As a student of her craft, she has studied music theory and recording technology. A shift into musical theater enhanced her performance skills as she brought colorful characters to life: the decadently whimsical Sally Bowles in Cabaret, the sassy Sheila Bryant in Chorus Line and the murderous Velma Kelly in Chicago. And while the notices were acclamatory and audiences appreciative, Tomasina realized that the character whom she was most comfortable being was herself. The power of social media connects Tomasina to her loyal audience. Through her regular headline shows at Disneyland, she has enlisted a devoted group of followers who pack clubs and concerts at Southern California locales like House of Blues and the Gas Lamp. And it is a multitude that is expanding every time that she performs. “I do see the whole big crowd, but I connect with individuals, especially the kids. I might ask, ‘Hey how are your dreams going? You’ve got to follow them. I’m up here following mine,” or “Look at me -- I’m weird too.’ To let them know that it’s ok to be silly and strong.” Fierce, fabulous and endearing, Tomasina is an artist on an ever-ascending musical journey. Beneath the makeup, the glamor, the towering wigs and outrageous costumes -- at the center of Tomasina’s music -- glows immense heart and intense empathy. “I asked a little girl what she wanted to be when she grew up and she answered ‘a person like you,’ she says. “That is one of the nicest moments ever. Helping someone to be herself simply by being Tomasina.” ###