The Bus Came By And I Got On at Sweetwater Music Hall

It’s not every day you find a Steinway where a tie-dye tapestry might normally hang. But then again, the Grateful Dead were never about predictability. Somewhere between the swirl of incense and the silence of a concert hall, pianist Kristina Marinova has carved out a new space for Deadheads and classical music fans alike.

Her new album, THE BUS CAME BY AND I GOT ON, takes the music once jammed out in open fields and smoke-filled arenas and refracts it through the lens of solo piano — trading the roar of the crowd for the resonance of keys, without losing a trace of the soul.
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It’s not every day you find a Steinway where a tie-dye tapestry might normally hang. But then again, the Grateful Dead were never about predictability. Somewhere between the swirl of incense and the silence of a concert hall, pianist Kristina Marinova has carved out a new space for Deadheads and classical music fans alike.

Her new album, THE BUS CAME BY AND I GOT ON, takes the music once jammed out in open fields and smoke-filled arenas and refracts it through the lens of solo piano — trading the roar of the crowd for the resonance of keys, without losing a trace of the soul.

The Navona Records release is a sonic tapestry of the Grateful Dead’s music with a devotee-pleasing setlist designed to replicate a Dead concert spanning their inception in 1966 to their award-winning and critically-acclaimed three-album Live European Tour in 1972.

With her reputation as “a feast for the ears” and someone who makes it clear that “music is like a message from God,” Marinova’s just the person for the job, expertly translating mind-melting soundscapes for a single instrument.

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