Abby played here in June, but most of you missed her. She's now a "Habit" of ours, and we need another fix, so you're going to get a second chance! Oh ... WOW!

With edgy, intelligent lyrics and hypnotic melodies, Abby Ahmad's music is as passionate as it is profound. Bridging genres of folk-rock, blues, and alternative, Abby's percussive guitar style and arresting vocals captivate and challenge her audiences. She is at once in your face and in your heart.

Minor 7th Webzine Reviews "The Rearview" 
By Tom Semioli

As Sir Bono opined a generation ago, all it takes is "three chords, a red guitar and the truth." Though her acoustic six-string appears to be natural wood finish, twenty-four year old urban folk diva Abby Ahmad comes roaring in like a reality freight train on her impressive debut long player (she has two EPs to her credit). Wistful, literal, and occasionally confrontational and cathartic, the young Ms. Ahmad emerges as an authoritative singer, songwriter, and an accomplished guitarist. Akin to her more veteran contemporaries such as Ani DiFranco, Mary Lou Lord, Tori Amos and Tracy Chapman, Ahmad does not require a traditional backing band nor ornate arrangements to grab your attention - though she does employ a moody rhythm section on a few cuts, plus atmospheric / minimalist cello, banjo, dobro, violin, piano, and Hammond B-3 accompaniment on others. Fingerpicking, strumming, and riffing with impressive dexterity and harmonic expertise, Ahmad's guitar wizardry incorporates a myriad of influences ranging from traditional folk and country to blues and R&B. Ahmad's vocal delivery, which morphs from angelic to a down-and-dirty Delta blues rasp, cuts through her often hectic rhythms and tempos throughout every track. When a forceful lyric demands emphasis: "So the big bang / in the center of the sky /i gnites a light / in the pit of your mind's eye" in the stirring opener "Big Bang," Ahmad leaps on top of the beat with a rapid-fire release that commands notice. On the dirge "Seven Year Itch" she simmers beneath Matt Zeiner's gothic keyboards and the mournful, lethargic fretless bass of Chris Anderson. If you had to choose a single it would probably come down to the brisk, overtly melodic "Solo Act," an up-tempo cut that recasts a patented Willie Dixon riff in a fresh new light. For the pure-bred shredders out there, make sure to check out the instrumental "The River Song" wherein Ahmad's blazing technique catches fire on the always challenging 12 string. A talent this promising cannot go unnoticed by the mainstream for long. Ahmad needs that one big song to take her career to the next commercial level.