Ashley Jackson’s Cover Girl: A Harpist Reimagines Iconic Songs by Women Who Shaped Popular Music

In the ever-evolving landscape of contemporary classical and crossover music, artists who push the boundaries of their instruments often create some of the most compelling listening experiences. Harpist Ashley Jackson is one such artist. With the release of her new EP Cover Girl, Jackson transforms beloved songs by some of the most influential women in popular music into elegant, emotionally rich instrumental interpretations for harp.

Praised for her “soulful” and “eloquent” playing by Musical America, Jackson has built a career defined by artistic curiosity and collaboration. A recording artist with Decca Records in the United States, she has distinguished herself as both a solo performer and ensemble musician, bridging classical tradition with contemporary influences. With Cover Girl, she takes that cross-genre sensibility even further, crafting a musical tribute to women whose voices, songwriting, and cultural impact have transformed the popular music landscape.

The concept behind the EP is both personal and celebratory. Rather than presenting the songs with vocals or traditional arrangements, Jackson interprets them entirely through the expressive capabilities of the harp. In doing so, she highlights the timeless melodic strength of these works while also expanding the instrument’s expressive palette. The result is an intimate and reflective listening experience that honors the original artists while revealing new emotional textures within their music.

Jackson’s performances throughout the EP are guided by a deep admiration for women who challenged expectations in the music industry. From trailblazing legends to contemporary innovators, the selections on Cover Girl reflect artists who reshaped genres, spoke truth through their work, and inspired future generations of musicians.

The EP opens with a striking instrumental interpretation of “Don’t Let Me Be Misunderstood,” famously associated with the legendary singer and pianist Nina Simone. Simone’s recordings often balanced raw emotional intensity with sophisticated musicality, and Jackson captures that duality through delicate phrasing and resonant harp textures. By removing the lyrics yet preserving the emotional architecture of the melody, Jackson invites listeners to hear the song in an entirely new light.

Another highlight of the recording is Jackson’s rendition of “I’m Every Woman,” the anthem made famous by powerhouse vocalist Whitney Houston. In Houston’s hands, the song became a celebration of strength, independence, and feminine identity. Jackson’s harp arrangement transforms the energetic pop classic into a graceful instrumental piece while preserving the uplifting spirit that made the song a defining moment in Houston’s career.

The EP also reaches into contemporary global music with “Udhero Na,” a piece by the acclaimed Pakistani singer and composer Arooj Aftab. This track features guest performer Emi Ferguson, whose contribution adds an additional dimension to the arrangement. By including Aftab’s music alongside more familiar pop and soul classics, Jackson emphasizes the continuing evolution of women’s voices in modern music and the global nature of artistic influence.

The EP concludes with a hauntingly beautiful interpretation of “Dreaming My Dreams,” a poignant ballad originally recorded by Irish rock band The Cranberries. Known for its gentle melancholy and emotional vulnerability, the song becomes a deeply introspective moment on the album. Jackson’s harp performance draws out the delicate phrasing of the melody, transforming the piece into a reflective closing statement that lingers long after the final note.

While the songs themselves originate from diverse musical worlds—soul, pop, global fusion, and alternative rock—Jackson’s arrangements unify them through the harp’s distinctive voice. The instrument’s shimmering resonance allows her to reinterpret familiar melodies with warmth and nuance, demonstrating its versatility far beyond traditional classical repertoire.

Jackson’s path to this artistic moment reflects years of rigorous training and diverse musical experiences. As a soloist, she has appeared at some of New York City’s most respected cultural institutions, including Lincoln Center, the outdoor performance series Celebrate Brooklyn!, and the historic Schomburg Center for Research in Black Culture. Each of these venues reflects a different dimension of the city’s cultural life, and Jackson’s presence across them illustrates her ability to move seamlessly between classical and contemporary audiences.

Her orchestral collaborations further demonstrate her range. Jackson has performed with the prestigious New York Philharmonic as well as the internationally respected Qatar Philharmonic Orchestra. She is also an active member of the Harlem Chamber Players, an ensemble dedicated to showcasing outstanding musicians of color and expanding the reach of classical music through innovative programming.

In addition to her performing career, Jackson is deeply committed to education and mentorship. She currently serves as Assistant Professor and Director of Performance in the music department at Hunter College in New York City. In that role she teaches harp, chamber music, and courses such as Arts in New York City and Storytelling Through Performance. These classes reflect Jackson’s belief that music is not only a technical discipline but also a powerful form of narrative expression and cultural dialogue.

Her academic background is equally impressive. Jackson holds a Doctor of Musical Arts degree from Juilliard School, widely regarded as one of the world’s premier performing arts conservatories. She also earned a Master of Music degree from the Yale School of Music and a Bachelor of Arts degree from Yale University, institutions known for nurturing both intellectual rigor and artistic excellence.

These experiences inform Jackson’s approach to Cover Girl. Rather than treating the harp as a purely classical instrument, she uses it as a storytelling device capable of engaging with popular music traditions. The EP celebrates the voices of women who have shaped culture while simultaneously challenging assumptions about genre and instrumentation.

At its core, Cover Girl is a project about inspiration. Each of the artists represented on the EP carved out space for their creativity in industries that often impose strict expectations about style and identity. By interpreting their music through the harp, Jackson acknowledges their influence while continuing that tradition of artistic exploration.

Although the recording contains no vocals, the emotional presence of the original songs remains unmistakable. Jackson’s harp lines carry the melodies with clarity and depth, allowing listeners to recall the lyrics and cultural context of the original performances while experiencing the music in a new instrumental form.

In doing so, Cover Girl accomplishes something quietly remarkable. It reminds listeners that great songs transcend the boundaries of genre and instrumentation. A melody written for a voice can find new life through strings; a pop anthem can become an intimate meditation; and a harp—often associated with classical concert halls—can speak fluently in the language of modern popular music.

Through this thoughtful and imaginative recording, Ashley Jackson not only honors the women who shaped the soundtrack of generations but also expands the possibilities of her own instrument. Cover Girl stands as both tribute and transformation, revealing how the language of music continues to evolve when artists approach it with curiosity, reverence, and fearless creativity.

Track Listing – Cover Girl

1. Don’t Let Me Be Misunderstood

2. I’m Every Woman

3. Udhero Na (feat. Emi Ferguson)

4. Dreaming My Dreams