Although the name implied the group was made up of a lead singer and back up musicians, all three characters were performed by Wynne Greenwood, a lesbian feminist artist using video projection,[2] who calls herself a representative of the "lesbo for disco" generation.
Tracy + the Plastics' music consisted of a Boss DR-5 drum machine, an Akai 612 disc sampler, and combines lo-fi filmmaking, performance art, Devo-styled songs, and feminist and queer politics in an entertaining package.
"[4][5] In 2005, Tracy + the Plastics recorded a version of the Lesbians on Ecstasy song "Summer Luv", which was released on that band's LP of remixes, Giggles In The Dark.
Greenwood discusses everyday things with her comrades as Tracy like the hair on her nipple, getting off of work, and dying logs, a play on words for 'dialogue' (again taking place at The Trunkspace in Phoenix, AZ in 2002).
The three band mates act as though they are all physically present and sharing the same space, like Cola asking if she can borrow Tracy's can of spray paint and speak as if they were actual friends, like Cola asking if the sign was straight then spraying two female symbols underneath, to make it less straight/more gay (from Spring Tour Performance in 2001).
Greenwood has made it so that Cola and Nikki are conscious of the universe in which they do not exist and make them sensitive to the real needs of people, like the act of privacy and shame.
As well the band members "are all only slightly modified renditions of Greenwood herself- less alter egos or highly evolved personae that seemingly playacted brand of critical levity operates to question, affirm, and confuse both existential and constructed notions of 'the self'.".
Marcus described the act's 2004 album Culture for Pigeon as "elecntronic dance punk" with "complex rhythmic sensibilities" and "increasingly off-kilter beats."