My editor asks if I’d like to review a new song from a rising blues guitarist. Is that even a question? As a blues lover, the chance to hear an up-and-coming artist bend the strings and bring forth those sweet, soulful sounds is an immediate and resounding yes. Send it my way, I beg. My email chimes, and I’m greeted with a single track: a remake of the iconic Led Zeppelin tune, Going to California. My mind starts spinning. What will I find? I hit play and take a deep breath.
Grace Bowers is a rapidly rising star in the world of blues. At just 18, she has already surpassed many with her extraordinary skills and has played alongside some of today’s top stars in Nashville. She’s amassed a large following and released her first album. Now, working with Caroline Jones and Sierra Hull, Grace delivers an incredible reimagining of the classic Zeppelin tune.
As the music begins, with a gentle slide from the guitar, my skepticism kicks in. But then—I hear it—a banjo? Ah, but soon the mandolin joins in, ringing clear yet soft. And this isn’t just any mandolin; it belongs to Sierra Hull. As the vocals begin, I’m suddenly transported back in time—to an old Chevy panel van, covered in shag carpet, heading to the beach. How many days did we spend out there, the side doors open, Led Zeppelin blaring from the Super Tuner, the 6x9 speakers booming? Sun on the sand, guys in cutoffs, and girls in bikinis splashing in the surf. I can almost feel the sand between my toes and taste the Screaming Yellow Zonkers (if you know, you know).
Some may argue that the original Zeppelin version is untouchable, and no remake is necessary. True, there have been other remakes, but most take the song in entirely different directions. Yet, music isn’t meant to remain stagnant—it’s meant to evolve, to be revitalized for future generations. And that’s exactly what Grace’s rendition accomplishes.
The original song was written in England and inspired by California’s earthquakes, but it became a "girl crush" anthem after the band flew to California to mix the album and experienced a real earthquake. Grace shakes up the original in her own way. The arrangement is expanded, with SistaStrings providing a lush foundation that supports the track throughout. Their strings are always present but never overpowering, complementing every moment of the song. Caroline Jones’ vocals soar above the instrumentation, later joined by Lucie Silvas—together, their voices blend so perfectly it’s almost as if they become one.
Up front, the banjo and mandolin weave in and out of the melody, teasing the listener with their rise and fall. Grace steps in just enough to grab our attention, then pulls back, creating a tension that is both pronounced and subtle. These incredibly talented musicians could burst into a full-on shred at any moment, but restraint is the key. This tension, this simmering just below the boil without ever quite reaching it, is what sets this version apart from the original.
The song remains true to its roots, paying homage to Led Zeppelin, but it also carves its own path. The addition of banjo, mandolin, guitar, and violin gives the track a broader palette while maintaining the original’s dreamy, summery vibe. The harmonized vocals are an absolute delight, and the musicianship is impeccable. What this song truly offers is the desire to hear more. It’s the perfect showcase for an amazing young talent, and it takes us on a nostalgic journey. I can hardly wait for Grace’s next full album. In the meantime, I’m adding this track to my winter playlist to summon memories of sun-soaked road trips and beach days. Maybe someone will bring back Screaming Yellow Zonkers too.
