Aside from being a ground-breaking recording artist, Cléoma Breaux also was one of the few women to perform live, despite the social standards of the era.

Cléoma Breaux was capable of playing a "hard" rhythm guitar style, which was closely related to the preferred technique of later bluegrass guitarists.

In 1921, Breaux married to a local musician, Oliver Hall; however, it was a relatively short marriage and the two divorced within a year.

Nonetheless, Burrs convinced them otherwise and Breaux and Falcon, without Meche who was too nervous to perform, recorded a test of "Lafayette (Allons à Luafette)".

[4][5] Though Breaux was not credited on the recording, the novelty of a female musician in a male-dominated music scene enhanced the group's popularity on the dance-hall circuit.

Breaux challenged social norms by retaining a feminine appearance and obstinate position the typically violent settings the venues brought.