Ashley Wool wrote her first song at the age of 7, to accompany a "butterfly rock star" character she conceived for Halloween that year. Her one-of-a-kind theatrical instincts have informed her artistry ever since.
During her freshman year at SUNY Geneseo--where she was one of five students in the inaugural class of the school's newly-designed musical theatre major--she released an EP of original songs, Not Otherwise Specified, which she funded by washing dishes in her school dining hall. Recorded in an old brick building that was formerly the town poorhouse and asylum, on eight tracks with live instrumentation and no frills, her "little record that could" gained airplay on numerous radio stations and podcasts, including Sirius XMU, Live365 and Broadcast Asylum, securing her a comfortable niche in the independent music scene.
Ashley stepped out of the indie music world after college to focus on theatre, and has since built a dynamic resume of critically-acclaimed performances in the NYC and tri-state area.
She received a BroadwayWorld Award nomination for playing Simon Zealotes in Jesus Christ Superstar with Madison Lyric Stage, as well as an OnStage Critics Award nomination for playing Wednesday Addams in the Westchester regional premiere of The Addams Family. Other favorite roles include Evita in Evita, Amy in Company, and Kira/Clio in Xanadu (twice).
A proud member of Actors' Equity Association, theatre remains at the forefront of her passions, but she soon felt the urge to return to making her own music, without being limited by the conventions of the audition room. In collaboration with producer Gabriel Pressman and industrial rock singer/songwriter Garek, the pieces began falling together for a new album, spawning the singles "Half of My Life," "Automatoronic," and "Starving Artist." Her new songs are currently spinning on radio stations and podcasts across the world--click here for a list of where to listen and request! The full album, Boycott Ashley Wool, is slated for release in fall 2020. While the title originated as a cheeky nod to some Internet trolls, it takes on a deeper meaning as a commentary about defiance, rebellion, calling people out, and calling yourself out. Themes of insecurity, privilege, and betrayal play out over catchy pop hooks fused with industrial and punk influences--and of course, plenty of theatrical flair.
She is, after all, still a butterfly rock star on the inside--just older, wiser, and hopefully woker.