We chatted to the wonderful pianist Gerard O’Donnell about his new classical piece, ‘Ghost’. We dive into what makes him tick, and some of the influences which gave birth to the wonderful track. We’ve left a link at the bottom for your perusal, so don’t miss out on this one!
Tell us about yourself as an artist?
I’m a pianist and composer from Ireland, and what inspires me most is the ability to tell stories through music. I grew up surrounded by incredible storytellers, listening to tales of ghosts, faery folk, and legends. I remember watching how these stories brought people together, seeing how the energy between the storyteller and the listeners would flow back and forth. That connection stuck with me, and now I try to create that same feeling through music, crafting soundscapes that let the listener be part of the story.
What got you into music?
It all started with pushy parents;) Coming from a big family of ten siblings, Saturday mornings were dedicated to piano and elocution lessons. One by one, my brothers and sisters decided they’d had enough, trading piano for other pursuits. But even so, we all grew up with a deep love for music, each finding our own tastes. Summers in Donegal were unforgettable, my parents and relatives would host incredible gatherings filled with folk singers, musicians, and storytellers from the local area. The nights were alive with laughter, heartfelt memories, rebel songs, and stories that kept you awake until dawn, taking you on the most amazing journeys.
Those moments, both structured and free-spirited, built the foundation for me as a musician and inspired me to carve out my own path in the midst of it all. The piano became my instrument, my way of expressing myself,
my voice. Studying at the Royal Irish Academy of Music gave me the technical skills and creative freedom to bring my own ideas to life, and I’ve been shaping that ever since.
How would you describe your sound?
I’d describe my sound as a blend of quiet, reflective moments and more untamed, raw energy. At times, it’s introspective, drawing the listener into a more intimate, thought-provoking space. Other times, it’s free and unrestrained, allowing the music to flow without control. The piano’s wide range of expression—its ability to move from soft, delicate sounds to powerful, resonant tones—makes it the perfect instrument for this exploration. This versatility lets me create a sound that feels personal, giving me the freedom to balance precision with emotion. The push and pull between control and release is what helps bring depth to my music.
Where did the title ‘Ghost’ come from?
Ireland is a place where there is an unspoken coexistence between the living and the dead. The memory of those gone is kept very alive in conversation, in our moments of pause. It’s deeply private to each person yet it is something culturally shared. No amount of imposed religion has been able to eradicate this connection and I think that this is because there is a stronger collective sympathy for something older, truer. We all know that there’s an otherness to the night and “Ghost” attempts to explore that.
What is your favourite venue to play?
My favourite venue to play in to date has to be El Teatro del Parque in La Casa de Vacas, Madrid. It’s such an emblematic venue and was designed by Isidro González Velázquez. For a pianist, what can make or break a venue is the quality of its piano and en El Teatro del Parque they really understand the maintenance that’s required.
What is special about this release compared to your other releases?
Timing is important to me. I like to align my releases with meaningful dates. For example, “Solstice” was released on the summer solstice this year. Now, with “Ghost”, I chose to release it just before the winter solstice as a softer, more reflective closing note after the intensity of “Solstice.” The two pieces are like opposites, facing each other directly, each with its own distinct personality. They may not find themselves literally next to each other on the forthcoming album, however I believe they’ll find each other somewhere in the ether of it, overseeing the rest of the pieces so to speak, like two elders.
Who would you most like to collaborate with?
Anyone haha. Coming from a house where music from Prokofiev to The Prodigy rang out in our kitchen, I have very eclectic tastes. However if I had to narrow it down to a few candidates, they’d be Tori Amos, Florence and the Machine and Caleb Arredondo.
What is your creative process, and do you think it differs from others?
It’s easier for me to explain what my process isn’t than to define what it is. Like many musicians, I’m often not fully present in conversations, my mind drifts, caught up in a motif I might have heard or even just seen earlier. Inspiration can come from almost anything, not just sound. It might be something visual, like the sweep of a billowing coat, the relentlessness of a train, the scrape of a chair on a tiled floor, or even a photograph. These ideas grow as I explore timbre, pitch, harmonics, and registers.But even as I say this, I know I’ll contradict myself – it’s that fluid. The process is honest, unstructured, experimental, and almost childlike. Still, there’s a moment when you know you’ve arrived, and that’s when it all comes together, when you can nearly feel that you’re not alone.
What is special about this album to you?
The album is due for release in early 2025. While I aim for each piece to stand strong on its own, they’re also designed to complement one another, unfolding like chapters in a story. The piano is the thread that ties it all together, creating a clear musical coherence. For instance, one piece is revisited later, offering a sense of a character evolving and changing as the narrative progresses. I have a clear picture of the story in my mind, but what excites me most is discovering how it resonates with listeners and the stories they imagine as they experience it.
