Stepping onto a stage can be thrilling or terrifying, depending on your level of confidence. If speaking on stage makes your heart race, there are ways to muster up enough courage to face your audience. In this episode, Bree Noble talks with Linda Ugelow, a speaking confidence and vocal coach, about breaking past fear and owning your voice. Linda shares how she conquered stage anxiety, built a powerful presence, and now helps others do the same. From shifting mindset blocks to using practical vocal techniques, this conversation is packed with insights to help you speak with confidence—whether you’re on stage, live streaming, or speaking up in meetings.

—

Watch the episode here

 

Listen to the podcast here

 

Speaking On Stage With Confidence: Linda Ugelow’s Guide To Overcoming Fear

I’m excited to be here with Linda Ugelow. She is a speaking confidence and vocal coach. We’re going to talk about all the things that we have to deal with when we’re on stage and it’s not even on stage. It’s places like this talking at a show, or being on a live stream. Even just maybe going and trying to book yourself in person with someone or calling someone up like that speaking confidence.

Especially around being able to talk on stage, use stories, and just feel confident doing that. She has a background in music. We’ll talk about that as well. Before we get into all that, Linda, I’d love to have you tell people a little bit about your background, your story so people can know where you’re coming from.

I started out as a dance therapist. Dance was my background, but I realized that at some point, I wanted to sing some songs. I realized I didn’t know any songs from beginning to end, so I started to take singing lessons. The person I started to take lessons with was with a women’s world music group. She invited me to join in. That was back in 1980.

I noticed over the years that I was in the group that there were certain people in our group who loved to introduce songs and there were certain of us who hated to have to introduce a song. I was in the latter group, but our director insisted that everybody have a spot in the program because she thought it was important for the audience to get that visceral feeling sound like, “What do we sound like when we speak?” I did not agree.

I thought it was the bane of my existence and because I was a dancer in the group and I often had costume changes for the pieces that I would come out in front of the “musicians and dance,” I would often plead, “I don’t have time, I cannot do this, or I have this costume change.” That was the first realization that I had a problem speaking. Fast forward, I was in graduate school studying something called authentic movement.

My advisor said, “Linda, you got to talk to the department about this wonderful process that you’ve been studying.” I was very flattered. I thought I was going to be speaking to the other students in the department and it turned out it was all the department heads. I heard you talk about this, Bree, on one of your episodes, you opened your mouth to sing the Messiah or maybe it wasn’t the Messiah.

It was the Messiah and nothing came out.

That’s exactly what happened to me. I opened my mouth and nothing came out. I closed my mouth and I opened it again and it was like I was in Groundhog Day in hell. It was back in ‘92. Nobody thought to carry water around with them. Finally, somebody noticed that I was having an issue and brought me some water. I did get back my speaking voice, but I never recovered from that emotionally. I swore I’d never speak in public again. Fast forward, I became an online coach in 2013 or 2014.

I realized that “If I’m going to coach, I need to let people know I’m doing that so I can coach people.” You got to put out your shingle. I started to take video classes because that’s how I thought I would reach people. It was super awkward. I felt very uncomfortable. I think I posted on YouTube Unlisted about a hundred videos. My video mentor said, “There’s this amazing new app that you’ve got to get on. You’ll be an early adopter. It’ll be so good.” This technology is called live streaming and the app is called Periscope.”

I got on Periscope, but the caveat was you got to do it daily. I thought, “I’m going to do this.” They didn’t tell you how terrifying it was because there was no algorithm. Imagine this, there would be a map on your phone. I’m in Boston. If I put my title and say, “I’m going to go live.” It would flash a little light on the map. Anywhere in the world could see that flashing light and say, “I wonder what that person in Boston is talking about.” You would hold your phone and you’d see people coming in from India, Turkey, France, and California.

What public speakers are often afraid of has nothing to do with the audience in front of them. Share on X

As I saw each person come in, I felt like I was disassociating from my body. I was hyperventilating and my heart was racing, but I got through it. Every day I thought, “I need some other tool to help me manage my fear.” I gathered this whole ritual of affirmations, deep breathing, power poses, meditation, kicks, punches, and jumping jacks, and on and on. Every other day I would be online Googling how to get over my fear of speaking. I learned to pretend fear is excitement and don’t think of yourself. Think of your audience and all these great things.

I’d be all enthused and I would incorporate it into my massive ritual, which ended up being an hour to get on livestream for 5 or 10 minutes. Now, here’s the irony. What was I talking about? How to de-stress your life. Here I was, so stressed out but I stayed with it because I thought I’m going to get over the hump. After a few weeks, I’m going to feel comfortable. That’s what everybody told me. The weeks went by and I got to week ten. I’m about to press broadcast. I realized my heart was still pounding so hard in my chest.

I thought, “This isn’t working. What’s wrong with me? Why isn’t practice bringing me or experience bringing me to a place of confidence?” I didn’t feel any closer to feeling confident than I did the first week. I didn’t feel any closer to feeling calm, relaxed, and trusting than I had that first week. That was when I decided I didn’t want to manage my fear anymore. I’m doing it, but I don’t want to spend time doing that. It took too much time. I didn’t want to have the fear to have to manage. That’s when I decided I was going to devise a way to get over the fear once and for all and I did. It was gone in five days.

That’s crazy. We’re going to get into that. I want to find out about this but I have to say, there may be tons of people out there that are reading and watching, thinking, “That’s me. I’m still there, or I remember being there.” There are people like me who have never been afraid to talk on stage, who’ve always had the confidence, but then sometimes that becomes a problem because you don’t prepare.

You think, “I’m going to be able to do whatever when I’m up there.” I remember the same thing as you said being in this group when I was in college and being expected to do an intro to a song. I just thought, “I’d get up there and BS my way or whatever. Say whatever.” I didn’t prepare anything but I was thinking, “This is what the song is about.” I could relate it to like seven deadly sins or something like that because this is a Christian college and a religious song I was singing.

I got up there and I said something about the seven deadly sins. I was like, “Lust and six others,” because I couldn’t think of any of the other ones. I became known for that. Everybody would have been like, “Yes, lust and six others.” It’s one of those things where you have to get over the fear, but then sometimes you also have to get over the fact that you think more than you do and you don’t need to prepare.

Not being prepared can cause a lot of anxiety because the thing is, winging it sometimes works out great but it’s not a sure thing. We’re winging it now. Most of the speaking we do is completely spontaneous. Very little of the speaking we do is memorized, unless you, let’s say, have a keynote or you have a show and you’ve memorized your intros. You’ve done them enough that how you like to talk about it.

Otherwise, we are always winging it. That’s okay if you are free and you give yourself permission to mess up sometimes. If you want to feel like there’s something specific that you want to impart and communicate, then even if it’s improvised to some degree, there’s structure to it, the points you want to cover so that you get across the ideas that you want. Now, I sympathize with you. Is it 6 or 7 deadly sins?

Seven deadly sins.

That’s a lot to remember. You have to practice that. In fact, it reminds me of a talk I gave after COVID. It was the first talk I gave after COVID, and I was talking about how to get comfy on camera. I decided on six things I was going to say to them about it. I said to myself, “Linda, you’re not going to remember all six things. That’s a lot to remember at your age. Do you know what? That’s okay because if I forget, that gives me the opportunity to show the audience what you do when you forget.” I welcomed the possibility that I would forget and I did. I got to number five. I had no idea what it was.

I said, “I cannot remember what number five is, but you know what, it’ll probably come back to me. If it doesn’t, I’ll email you.” I left it at that. In fact, it did come back and I said, “I just remembered number five.” I wove it back in. Three people came up to me after that saying, “Thank you for modeling what to do when you forget.” It’s not a problem for us to forget as long as we’re prepared with what to do when we forget. We’re prepared for what to do when we stumble over our words or when our mind goes blank.

 

That’s a serious tool. It’s a tool in your toolbox to prevent you from being so fearful. What if this did happen? That’s one of those things with fear. Thinking about, “Let me think of all the what-ifs. What if that happened and then what?” You go through all that in your mind and you’re like, “I wouldn’t die. I’ll be okay.” You said you got through this fear in five days. How did you do that?

I made a list of all the modality tools that I have because I have a master’s degree in expressive arts therapy. I mentioned I have a dance therapy background. I was like a self-help geek and had collected a ton of tools from the last century basically because I’m that old. I made a list of all these things and I thought, “I’m going to apply everything I know.” However, I thought before I get into it, let’s figure out what is this fear. I closed my eyes to connect with the fear and I asked if the fear could talk, what would it say?

What came back was, “You’re going to be attacked.” I thought, “Is this like cellular memory being on the Serengeti, being chased by a saber-toothed tiger, or have I been attacked?” Suddenly, I had these memories of my two older sisters attacking me every time mom put me in the center of attention. I was the good girl in the family. Mom said, “Why cannot you girls be more like Linda?” They hated that. As soon as she walked out of the room, they kicked me in the shin and said, “Shut up. Call me stupid.”

It was like, “I don’t want to be the center of attention when everyone’s listening to me,” because I learned it could be dangerous to be the center of attention. All of a sudden, it shifted my brain. The whole way I looked at the fear of speaking. I thought, “What I’m afraid of is not anything to do with the audience in front of me. What if it has everything to do with things that happened in the past?” I started to, what I call, declutter my psychic closet. The psychic closet is like my background in Jungian psychology.

The idea of like, what’s in the subconscious? What’s hanging out in there? The time I was bullied in 7th grade and when everyone said, “Nobody talked to Linda.” Feeling on the outside of friend groups and thinking, “I’m not the cool kid. Everybody else is cooler. No one’s interested in me.” Maybe Dad saying, “I’m sorry, Linda. I’m just not interested in dance or music or whatever. It’s not a big deal that I missed your solo. It all sounds the same to me.”

All that stuff that eroded our confidence made me feel that I wasn’t good enough, I wasn’t whatever enough that people were interesting enough, and people didn’t want to listen to me. I realized I had stuff. I had a lot of stuff. What I did is I turn to my list and I applied the things. One of them is a technique called emotional freedom technique tapping that people might know and it’s used for PTSD. I did this technique on all these memories that I had.

I would stay awake at night, in the middle of the night and I’d be thinking, “What else? Comments. My Phys Ed teacher in college who embarrassed me in class after he came to a dance performance that I did and said, ‘I didn’t understand anything you were doing up there.’” That feeling of shame that I had. Everything that I could uncover, I then forgave. “I forgive you, Mr. So-and-so, for embarrassing me in front of the class. I forgive you, Linda for not knowing how to handle it, for not knowing what to say in that situation. I forgive you, Mom, for not knowing how to be a better parent. I forgive you, sisters, for being jealous of me.”

I like went through all this forgiveness. I did some other kinds of visualization, imagining myself as my younger self and talking to myself, journaled, and danced. All these things did the trick. That’s why even when I work, I don’t maybe do all that. It was like throwing spaghetti at the wall, but I do recommend a multimodality approach to healing because I feel like, why put all of our eggs in one basket? Sometimes something that a simple forgiveness exercise will do will be more impactful than doing EFT or doing journaling.

Let’s come at it from different ways. Let’s come at it from the body, the emotions, and our intellect. What we’re basically doing when we heal these past experiences is creating a new relationship to them so that they’re no longer sitting inside us in their fossilized way. What I see happening is that we’re getting triggered. We’re getting triggered because that memory is inside us in the way it was when the injury happened and it hasn’t changed. Let’s change that memory. Let’s do what we can to feel a little more compassionate, understanding, love, and forgiveness. When we do that, we let it go.

That all makes sense. First, you were trying to push through. You’re like, “I’m going to be so much better.” You can push and push, but if you’ve got this underlying stuff, you’re not going to get much better. You might get a little bit better. Going back to the thing that you have the fear about and pairing it with using these modalities at the same time, how do you pair it? Do you feel like they have to work on the modalities for a while first before they go back to maybe being on stage?

No. For instance, if I’m working with somebody privately, I was working with someone where we couldn’t find any big traumas. It was interesting. There were several things that were going on. One was that they had a bunch of friend groups, but they never felt like they were inside the group. They’re always on the periphery. They always felt like they were the quiet kid. On the outside, nobody’s interested in what they have to say.

The fear of speaking somewhere is never random. There is always a reason. When did we decide it was safer to hide? Share on X

They were friends with the jocks, the drama people, and the nerds and then they were in the band. The band teacher had this idea. Let’s say this person was playing saxophone and there were six saxes in the band. They had their chairs, 1, 2, 3, 4, 5, and 6. Anyone at any time could challenge number one and they’d have a little contest. If that person in the challenge was better, number one got kicked out of the number one seat.

This poor fellow said he was terrified that he was going to be challenged. He didn’t want to be competitive. He didn’t like that but he felt like his way of protecting himself was keeping his head down. “Don’t look at me. I don’t want to be too visible because it could be embarrassing.” This was his way of protecting himself from embarrassment. What we did was collected that information. We did some EFT and some creative visualization.

I have several different visualizations I like to do and let go. I don’t expect we’ll ever have to go back there again. It’s done. That’s taken care of. What I want to say to you, Bree, is I don’t believe that we have to do things over and over again to clear our stuff. I feel like if we effectively take care of it once, we’re done with that. Occasionally with my clients, we have to repeat something. Let’s say you had a narcissistic mother or father.

You had many years of dealing with them. You might have so many memories and injuries that maybe we might have to do two or possibly even three very rarely. Once you take care of these trigger events, they’re taken care of. What’s nice about that is then you can be in the present and that’s how we want to be when we perform and where we want to be when we speak. We just want to be present. There is one other little piece here that’s important to recognize.

I’m talking about past experiences, it could be messages we got also like, “Don’t draw attention to yourself or don’t brag, or always have to be in the center of attention.” Those kinds of messages will make us feel like there’s something bad about taking up space. It’s going to impact our ability to either perform or to speak wherever we do because we don’t want to take up people’s time. There’s also what we do inside our heads. It’s not just external. It’s also internal. That internal dialogue may very likely be originated from these external experiences that we have that we take on.

Still, we have to clean that up too, because if you’re saying, “I don’t know how to introduce this song very well. People don’t want to hear me speak. They just want to hear the music or I’m not as good as that person at bantering on the stage.” It seems like those things are innocuous. Let me say that, and I know I can say this to you, Bree, because it’s not going to trigger you.

I’ll use you as an example. “Bree, you’re not as good as that other person you know. You’re not very good at bandering. People don’t want to hear what you have to say.” Do you know how harsh that sounds? It’s like, “Linda, can we end this show now? Would you please go away?” You’re not going to want to hear that voice and yet we have those kinds of voices going on in our heads all the time. We don’t even notice it. We don’t even hear it because it’s so familiar.

Things we would never say to someone else we will say to ourselves. I experienced this a little bit. I’m a worship director at a church and sometimes even while I’m doing worship, I’m like, “The song’s going on too long. Did really people come for the song?” Some people come for the sermon or the songs. I’m always thinking to myself, “What about the people who don’t care about the music? They’re feeling like this is too long.” Those dialogues are going on in my head because everybody has an opinion about worship music. Some people have given me their opinions, all good and bad. Those things get stuck in my head. It’s awful when you’re like on the stage doing it and that’s going on in your head.

That’s right. It’s like the parallel universe.

You’re like, “Shut up. I’m trying to play.”

I’m thinking, “I know. Be quiet. Let me just enjoy it.” That takes away from your experience too, because in your head, you’re not having the experience that you’re trying to create for other people. You’re trying to provide an environment that is uplifting, connects you to your spiritual self, or you can say exactly what you’re aiming for. By having these thoughts, you’re outside of that. You’re not getting to have your experience. I want you to have your experience. I want people to enjoy the limelight. That’s why my book is called Delight in the Limelight. I feel like, let us be delighted for those moments and for those experiences that we create for others.

If you’re delighted, then it’s going to be clear to the audience, it’s going to be infectious. That’s the way I think about it. They’re going to be like, “They’re having so much fun.” It makes me feel like I’m having fun. You mentioned earlier about musicians that might have something in their heads like, “I don’t know how to introduce this song or I’m not very good at it.” Why do you think that musicians, especially songwriters can like bear their entire soul in a song but then they cannot say anything on stage? They feel super self-conscious.

That’s for each person to determine. That’s why I say let’s go back and see what the stuff is. One easy way to do it is to think, “What am I afraid of? Am I afraid of being judged? When was I judged? When did I feel judged?” Follow that thread back. Maybe it’s a family member or a stranger’s comment to you or something in school. It’s always connected to something. That’s what I have discovered. When we have a fear of speaking somewhere, it’s never random. There’s always a reason. The question is, when did we decide it was safer to hide?

That’s an interesting thing to prompt. We talked at the beginning about being on camera versus being on stage, and you were talking about being on Periscope, which is amazing. I remember the Wild West of Periscope. I wish I would have been doing that back then because it was crazy. People built entire fan bases doing that. What are the differences or things that you need to be aware of within yourself as far as any fear that you might be dealing with confidence when it comes to being on camera versus being on stage?

There are differences and also many similarities. I would say for both of them, we want to stay embodied in ourselves. We want to stay inside our experience, especially as performers. I say this as a speaker too, we are having an experience that we are inviting others to join in to witness. There is some element of, we’re speaking to and communicating to the audience, but we’re also having this experience ourselves that we’re allowing ourselves to be seen. We’re allowing ourselves to be heard.

That is going to be the same on stage and on camera. I’d say the largest difference between the two is the spatial awareness. When you’re live in person, you’ve got people sharing the space with you. All of you are visible. Whereas when you’re on camera, only part of you is visible. Your attention to where the audience is through this little camera lens that when you look at it, anyone who is looking at you feels your eyes, your view upon them, which is so different than being in a space where if you’re looking at one person, everybody else knows you’re not looking at them.

If you want to give them the feeling that you are recognizing them or seeing them, you have to have this spatial awareness of the whole room and you’re bringing your attention to different parts of the room, if that’s something that you want to do. As a performer, you can choose whether or not to do that. As a speaker, you probably want to do that more, but even so. Let’s say if you’re up there as a musician and you’re telling a story. Nobody’s going to fault you for looking at your guitar while you’re tuning and talking.

You don’t have to look at the audience. No one’s going to fault you for looking at your bandmate as you’re talking or occasionally looking at the audience. There’s a lot of leeway and this is what is important to remember. You can create your own parameters of being either on camera or in person and what you’re looking at, how you’re using your voice, how long you want to talk, how short you want to talk, or how you want to play with your voice.

I feel like one of the things that you want to stay aware of is you do have this opportunity to design the experience that you want. If you are no longer triggered by the past, and you’re no longer absorbed by the thoughts in your head. The question is, how do I want to show up? What do I want this experience to feel like? This can become almost like, you could say your personal development or a spiritual journey of how you want to be in the world. How do I want to be as a musician? How do I want to be as a person who communicates?

Before you go on stage or go on a show or do an interview at the venue where you’re going to be performing, you can think, how do I want to feel? That’s number one. Do I want to feel relaxed? Do I want to feel energized? Do I want to feel loose and wacky? Do I want to feel strong with gravitas, and intense? If you prepare your experience with your intentions, you get to create your experience as you go along.

Every time you get on stage, you can say, “I’m going to focus on just feeling my feet on the floor, or relaxing the muscles in my face, or feeling my shoulders relaxed, or how I look at people.” By creating or thinking and playing with how you want to show up, you can create new experiences for yourself and grow in your experience as a speaker and performer.

I like that of picking one thing that you focus on each time. I’m going to try someday and feel my foot pushing on the pedal on the piano. It’s like your little secret intention that nobody else knows about. It also can help me stay more present. I can be like, “I don’t feel my foot on the pedal. I’m not paying attention.” That’s good because my mind does tend to wander sometimes and like, “I have to like rain it in. Hello, you’re in front of people. You’re performing music and come back to me.”

This is one of the beauties of being in the limelight. It is an opportunity for us to be more connected with ourselves. I used to feel like when I knew that the attention is on me, that was a lot of energy and it helped me to focus in. I remember at the Periscope chapter of my life, after I got over the fear of speaking, I had a very busy day.

I was doing lots of errands and I needed to get back by 4:00 because I needed the light. I didn’t have any special lights, so I needed the natural light. I remember playing in the car to the garage and I set up my camera on the tripod and I said, “I want to say how grateful I am to get to be on camera because after a hectic day, I can turn this thing on and relax.” I thought that’s an interesting thought that finally I can relax.

You cannot really enjoy singing and playing instruments publicly if you have a high level of tension physically and emotionally. Share on X

I wondered why is that. It’s because suddenly without any of that stuff triggering me and having the attention brought me into the present moment. What I like to think about is how can we go even deeper in ourselves, not in spite of the audience, but because of the audience? How can we utilize this opportunity where we are in the limelight to help let that attention bring us more deeply into ourselves?

I like that. Especially because when you’re on Periscope or you’re on stage or whatever, you’re not have to do a million other things in life. You’re not having to think about it, “I need to pick up the dog from the groomer and get the laundry done.” You have to be present because you’re presenting. You’re in the limelight. That is a relaxing gift.

It’s true. It’s like there’s no place to go and no place to be except here now. As long as you are open, free, and comfortable being there.

That’s awesome. I love that framing.

I want to share something just because it may be very relevant. One of my traumas in my musical career was that I found myself, through the years I performed with my group that I was losing confidence in my singing. My voice started to become unsteady. It was wobbly, and then people started to notice and comment about it. My director kept saying, “I want you to hold that note steady.” I was thinking, “I cannot do it.”

The whole time that I was losing my confidence, I was taking weekly singing lessons. I’ve taken with a number of wonderful singing instructors. Somehow, I was still more and more afraid to hit those high notes and do a solo. When I came around to writing my book, I realized, “Linda, your singing fear is like your speaking fear. You have not addressed it in the same way that you’re telling other people to address their speaking fear.”

I made a pact with myself that by the time I finished writing my book, I would have followed all of my directives in the book to get over my fear of speaking. It didn’t take that long because once I sat down and said, “Where’s my stuff? Where did I feel criticized? Who am I afraid to sing around because I’m afraid of being judged?” I did all the things that I said that we should do to clear our fear of speaking and my stuff around singing. It’s interesting because since the pandemic, I left the group. I haven’t been in a performing position anymore. I don’t have any place to say, “I’m done now, or it worked.”

I don’t have the evidence except that I know that I love singing now in a way that I hadn’t for years. It was interesting that until I cleared my stuff around my singing anxiety, I felt like I couldn’t learn the skills that my teachers were trying to teach me because I was carrying that anxiety all the time. It’s like, even in my lessons, I was tight inside on an energetic and emotional level like, “Is this going to be right? Am I going to be good enough?”

You can’t enjoy singing and playing when you have that level of emotional, and physical tension inside. You just cannot. I realized I cannot even learn new skills. I still take vocal lessons even though I’m not performing. It’s wonderful to feel like, “I’m getting better at this. I wasn’t even thinking about technique when I just sang that. I just sang it and I loved singing it.” I feel like I am finally enjoying my singing voice in a way that I hadn’t for decades.

I think that is the goal. It’s being able to perform without thinking about technique constantly. That’s true for voice and for thinking about having to work through because I’ve had people on the show talking about things you can do before you go on stage. It’s like calm yourself down, work through your fears, and dwell the anxiety. Those are may be necessary still for a while, but if you can get rid of the stuff that’s underlying, then you might not need those other things or you might will need them less.

I would say you would need them for another purpose. The other purpose would be to put yourself in the position to get in the zone to have a peak experience, a deep experience for yourself to bring the best of your intention to the experience. It’s not necessarily to quell the fear because, hopefully, the fear wouldn’t be there if you cleared your stuff away.

 

You still want to remember that I want to be heartfelt, or you want to remind yourself of the energy that you want to bring. When you step out on stage or to the mic, you are already in that river. You’re already in that flow, and you can surrender yourself to it. You can let yourself be or even remind yourself on the vehicle and let that energy come through you.

I love that idea of the river and the vehicle. I would love to have you share a little bit about your book and where people can find it because whether it’s more about speaking. All of us musicians need to do speaking. If we’re going to be successful, we need to incorporate banter and stories and all of that. It can be useful for musicians specifically as well.

The book is Delight in the Limelight. You can get it anywhere online. You can order it from your library. You can ask your local bookstore to order it, however, you like to buy books. It is a guide to help you transform whatever anxiety or dread you have to turn it into enjoying the speaking that you do instead. If it’s a dread of performing, it’s the performing that you do. I do feel like even though I had in mind speaking, I’m also aware, I know and I’ve worked with performers to get over any aspect of anxiety that they have. It’s the same process.

Don’t we all just want to delight in the limelight?

That’s right. Life is too short to do it any other way.

Connect with you anywhere online?

It’s Linda Ugelow. You’ll find me on TikTok. You can find my website or LinkedIn, and Facebook. I’m not that much on Instagram. You’ll see my stuff there, but I don’t hang out there very much.

Thank you so much, Linda. This has been a great conversation as I knew it would be being a fellow speaker, podcaster, and musician. We have so much in common. I know that everything we talked about is going to be super useful to everybody reading and watching.

Thanks for having me on, Bree.

 

Important Links

• Linda Ugelow
• Periscope
• Delight in the Limelight
• Linda Ugelow on Youtube
• Linda Ugelow on TikTok
• Linda Ugelow on Instagram
• Linda Ugelow on Facebook
• Linda Ugelow on LinkedIn

 

About Linda Ugelow

Linda Ugelow (YOU-guh-lo) is a speaking confidence and vocal coach and author of the book, Delight in the Limelight. Formerly stricken with public speaking and performance fear, she now helps professionals and performers transform their experience on stage from dread to delight.

Linda holds a master’s degree in Expressive Arts Therapy/Movement Studies and performed internationally for four decades with the women’s world music group, Libana, as a singer, bassist, percussionist, and principal dancer.