Ashwin Anand is a veena artiste. He learns from the doyen, R. Vedavalli.

In one of his programme, he played an outstanding alapana of Hemavati (Sri Kantimatim). It was elaborate, flowing, scholarly and inspired. His gayaki style was, indeed, a treat. After a sedate rendition of the kriti, he played a niraval that could have done a vocalist proud. Seldom do we hear a niraval of such quality from an instrumentalist. This session was also noteworthy for the percussive support provided by Kallidaikurchi Sivakumar on the mridangam. Ashwins next alapana of Kedaragowla (Venu Ganaloluni) was impressive during the exploration in the lower register. Saveri was the main raga for the evening. Ashwin alapana was rooted in tradition and rich in gamakas; he used his mastery over the veena to portray the grandeur of the raga and refrained from any sort of display of empty virtuosity. That it had a mild somnambulistic effect on the listener was, perhaps, the only detraction. Tanam followed in the vainika mould.