Cast aside any and all expectations.

Whether behind the piano on a windswept mountainous cliff, at a hallowed venue such as Carnegie Hall, or playing shoulder-to-shoulder with some of the most legendary musicians in history, solo pianist Holly Bowling subverts convention with virtuosic playing, emotional immersion, and a thirst for invention. Acclaimed by Rolling Stone, Billboard, Relix, and more and sought-after by icons such as Phil Lesh, Bob Weir, and Warren Haynes, she once again flips the script on her 2020 album and second reimagining of Grateful Dead staples entitled Seeking All That’s Still Unsung.

“When you go to see someone play solo piano, you’re not expecting them to stand up, pluck the strings, drum on the frame, hit the strings with mallets, or place magnets and EBows inside of the piano,” she smiles. “It doesn’t fit with the expectations of how you’re supposed to play this instrument. I think it works though.”

Her introduction to the instrument happened at just five-years-old when mom and dad bought a piano from a yard sale down the street. They gave their daughter a choice: ballet or piano. As the sounds of Mozart, Beethoven, and The Grateful Dead piped through their home, she obviously chose the latter without hesitation.

After a childhood dedicated to the instrument, she studied piano performance at SF State University. Intermittent gigs around San Francisco followed before she ended up on stage for an impromptu jam with Marco Benevento. “I paid him a dollar to go up there,” she recalls. “It reminded me that for most of my life I wanted to be on stage playing, and I couldn’’t let that slip away.”

After catching a 2013 Phish show in Lake Tahoe renowned for its extended rendition of “Tweezer,” she transcribed and arranged the entire 37-minute improvisational masterpiece into a nuanced and intricate piano opus. She humbly refers to it as “a nerdy pet project that somehow inspired people to demand Phish on piano.” It announced her arrival as an exciting outlier and paved the way for Distillation Of A Dream: The Music Of Phish Reimagined For Solo Piano in 2015.

As her profile rose, she delivered Better Left Unsung only a year later. For this triple-LP, she rearranged iconic moments from the Grateful Dead on her piano. It bowed in the Top 25 of the Billboard Top Classical Albums Chart. She went on to share the stage with everyone from The Dead’s Weir and Lesh to Haynes, John Scofield, Jim James, Branford Marsalis, Don Was, Robert Randolph, Greensky Bluegrass, and more. Along the way, she graced the bills of Lesh’s Terrapin Crossroads and Haynes’s annual Christmas Jam and unveiled the concert recording Live at the Old Church. Simultaneously, she co-founded improvisational rock outfit Ghost Light in 2018. Engaging a faithful audience even in the midst of the “new normal” of 2020, she launched a series of living room livestreams chronicled on the eight-volume Alone Together: The Living Room Sessions highlighted by her innovative re-imaginings of Radiohead, Nine Inch Nails, and many others.

During 2019, she tracked Seeking All That’s Still Unsung at 25th Street Recording in Oakland over the course of just five days.

“Seeking All That’s Still Unsung is a lyric from a Dead song,” she explains. “There was definitely a sense of trying to look for what I hadn’t said on the last album. Having spent a few more years exploring the Dead’s music in the solo piano context, I felt free enough to take more liberties with how I approach the arrangements and improvisation. I can insert myself into the songs more. Given their nature, I realized the way to actually be the truest to them is to throw the rules out the window.”

Under the influence of the Bill Evans album Conversations with Myself, she properly incorporated overdubs for the first time, locking into a “dialogue” with her own playing. She tried her hand at this approach on Better Left Unsung’s “Dark Star,” but truly brought it to life here.

On the opener and first single “St. Stephen,” her fingers nimbly conjure a melody between bass-y root notes. The call-and-response instantly captivates with all of the drama and dynamics of a main stage festival performance.

“It’s like you’re watching a movie,” she explains. “The scene changes, and the colors and lighting just shift. Something new comes into focus, and the improv goes further. It’s not what I expected to come out of the arrangement initially, but it’s a defining moment on the album. It has the intensity of the overdubbing and some light and dark places to showcase a different range of emotions.

Elsewhere, the sprawling near 14-minute “Weather Report Suite” traverses a similar scope as her transcendent playing spirals towards a climactic release. The project culminates on a delicate “Stella Blue,” which she calls “the perfect landing point of the album and an exhale at the end after this emotional ebb and flow.”

In advance of Seeking All That’s Still Unsung, she embarked on The Wilderness Sessions—a virtual concert tour of natural wonders across the United States. Setting up her piano in the heart of national parks and landmarks such as Yosemite National Park, the Bonneville Salt Flats, Bruneau Canyon, the Beartooth Mountains, and the Badlands of South Dakota, she catalyzed the “Interaction between the music and the landscape.”

In the end, Holly consistently redefines what’s possible on her instrument of choice.

“When I play pure stripped-down acoustic piano, it’s like going home,” she leaves off. “I love the nuance, detail, and emotion you can pull out of a piano in a more subtle and quiet setting. The moments I cherish the most happen when I slip outside of myself for a while. If my music gives this to someone else, that would make me happy. There are shades of classical and shades from the Grateful Dead. A lot of classical enthusiasts might not give the Dead a chance. Many Deadheads may not like classical. Personally, I’ve always had two halves of my musical life. When I finally started to bring them together, it was something I’d been building towards for a lot longer than I’d realized. Bringing everything together, I’d love to open up boundaries and help people discover something new.”

www.hollybowling.com

“A Man Named Cash®” delivers unmatched authenticity as the ONLY Johnny Cash Tribute to feature a vocalist chosen by the Johnny Cash Estate. Frontman Eric Hofmanis was selected by John Carter Cash as lead vocalist in “Johnny Cash The Official Concert Experience” – a 7 month concert tour spanning 100 cities and premier venues throughout the US and Canada. 

AMN$ is the GOLD STANDARD of Johnny Cash tributes.

Internationally recognized by Cash fans as one of the most honest and true representations of Johnny Cash live in concert, join Eric as he takes you on an exciting musical journey through the music and legacy of Johnny Cash – spanning nearly 50 years of music from his earliest days at Sun Recording in the 1950’s through his final days and musical rebirth with American Recordings in the 2000’s. Eric’s astonishingly deep voice and even deeper embodiment of Cash’s character often has audiences utterly transfixed in their seats – performing classics as varied as his first 1956 Billboard #1 hit “I Walk The Line” to the 2004 Grammy Award winning ‘Hurt.’

Eric is joined by Megan Houde (as June Carter) who’s natural presence alone adds an essential brightness to The Man In Black. The two’s on stage chemistry (much like the real Cash and Carter) is undeniable, at times unpredictable and genuinely charming and up lifting. The room does indeed LIGHT UP each time Megan walks on stage though out each performance – bringing with her the perfect embodiment of hope, joy, love and lightheartedness that Cash’s music often spoke of as what was missing in the world.

In February of 1974 Asleep at the Wheel made the move from the Bay Area to Austin, Texas. After playing the Armadillo World Headquarters with Commander Cody and his Lost Planet Airmen in 1973 – and receiving encouragement from Willie Nelson and Doug Sahm to relocate – the band settled in and made Austin their home, where they remain 50 years later.

“Austin was and has been everything I could have ever wished for and more,” says Ray Benson, the band’s leader and only original member. “It’s been 55 years for AATW as a band, and 50 of them have been spent in Texas. We are known worldwide for being a Texas band and playing Texas and Western Swing music. It brings us great pride to carry this torch and responsibility. We don’t take it lightly!” 

Asleep at the Wheel’s lineup is ever changing. Since 1970 the band has had over 100 members come through. In the past, when a new member or two has joined a new album has emerged. In 2025 that still remains true. “We had some more line up changes after the pandemic and our 50th anniversary tour,” says Benson. “We had some folks who had been with us for a while move on. But, like always, we kept playing live shows and searching for the next members to identify themselves – here we are!” 

One key and important role in Asleep at the Wheel and in Texas and Western Swing music is the fiddle. “It’s crazy to think that Ian Stewart, our newest vocalist and fiddler, grew up five minutes away from my house and that had nothing to do with the reason he is in the band,” says Benson. “Ian had a residency at the Broken Spoke as his own act. Danny Levin, who was there at the start of AATW in West Virginia and was in the band through the 70’s and early 80’s, had a relationship with Ian and a group with him and suggested him for the gig. Danny’s word was enough for me – he knows the gig as much as anyone.”

“Having grown up in Austin, Texas, Asleep at the Wheel is a name that has always commanded respect and it’s an honor to join their ranks,” says Stewart. “It’s an invaluable education working with a team that brings a fresh twist to the traditional music that I love and grew up listening to. I feel lucky every time I step on stage – it’s a ride I’m thankful to be on.”

What has followed the recent lineup change is a steady dose of touring the world – and now the band’s 32nd record Riding High In Texas, featuring Stewart and Benson as the band’s lead vocalists. This marks AATW’s first new release since their 50th anniversary project Half A Hundred Years in 2021.

“I have always wanted to do a ‘Texas’ record – a thank you and love letter to this state that has given me and the band so much. I also thought it was the right project to take on with the new faces we had in the band, who had never been on record before,” says Benson. “Within these tracks there’s an unmistakable musical tradition that you can’t get anywhere else – except deep in the heart of Texas,” says Stewart.

“Just like the state of Texas and Asleep at the Wheel, this album is bold, soulful, and rooted in a rich heritage guaranteed to keep toes tappin’!” adds Stewart.

Joining Stewart for their very first Wheel album appearances are Michael Archer (bass), Curtis Clogston (steel guitar/dobro) and Lyon Graulty (horns). AATW former members Danny Levin (piano/fiddle), Joey Colarusso (horns) and David Sanger (drums) round out the group for this new record, Riding High In Texas. 

Stewart and Benson share the attention on this new record, with Stewart singing the title track “Riding High In Texas” – a Peter Rowan penned tune – that features “some hot pickin’” from Billy Strings. “I’ve been a fan of Billy’s for a long while now and got to hang with him and check out his shows. He’s such a wonderful guy.” says Benson. “I appeared briefly in one of his music videos, but we’d never had done anything musically together – until now. When it came time to lay down a solo on ‘Riding High,’ I couldn’t think of anyone better, and unsurprisingly, he played amazingly like he always does.” 

AATW are no strangers to guests on their albums, including longtime collaborator Lyle Lovett – who joins in on the song “Long Tall Texan.” “I’ve known Lyle now for almost 40 years,” says Benson. “To me, he’s the best Texas songwriter, stylist and person. I love Lyle and getting to make music with him. We couldn’t do a Texas record without him!” 

The record blends well-known Texas tunes like George Strait’s anthem “All My Exes (Live in Texas)” to Guy Clark’s “Texas Cookin’” with more obscure selections like “Still A Lot of Love in San Antone” plus songs by non-Texans such as The Carter Family’s “Lonesome Pine Special” (which Benson says Hazel Dickens version was an influence for this album) “T For Texas (Blue Yodel No. 1)” by Jimmie Rodgers and “Texas” by Charlie Daniels. 

“We weren’t trying to make Texas’ Greatest Hits,” says Benson. “That would have been too on the nose – and daunting. We picked songs that fit this group the best and that Ian and I felt we could do justice to.” 

“Texas In My Soul” was written by Ernest Tubb and popularized by Willie Nelson. “Beaumont Rag,” the Texas fiddle tune and instrumental, rounds out the 10 song album. “ET and Willie are probably my biggest Texas influences,” Benson adds. “And AATW always includes an instrumental on our records – ‘Beaumont Rag’  just felt right for this one.” 

“This album is an introduction to the current and future of AATW,” says Benson. “I know another 55 years isn’t in the cards, but I want to keep pushing and creating as much as I can, for as long as I can. Ian and the new guys give me the motivation and energy to keep this going. I hope everyone enjoys this eclectic collection of some of our favorite songs about Texas. The future for AATW is bright – and we’ll keep on Riding High In Texas!”

photo credit: Andrew Dalton

Jake Speed & the Freddies, Cincinnati’s long-running folk/Americana band, host a night rooted in toe-tappin’, foot-stompin’ original tunes that muse on Cincinnati’s unique past & present. Known as the Woody Guthrie of Cincinnati, Jake Speed uses a traditional folksy delivery to compose timely and timeless songs that tell great stories with a bit of a lyrical edge. This special Queen City-centric concert celebrates 25 years of music-making, storytelling, and deep ties to the region, featuring cameo appearances by Mike Oberst of The Tillers, Ed Cunningham of The Comet Bluegrass Allstars, and Chris Cusentino of The Turkeys. The concert also marks the release of the band’s sixth studio album with 12 new songs, some of which pay tribute to Cincinnati musical icons Katie Laur, The Comet Bluegrass Allstars, dancing with daffodils at Washington Park, and their roots in Ohio. More than a performance, this 25th Anniversary concert is a celebration of Cincinnati’s music, stories, and community. Proceeds benefit Cincinnati Public Radio, helping sustain the local voices and institutions that preserve the past, enrich the present, and guide the journey ahead.