Cameron Segal is an Australian composer and pianist, celebrated for his neoclassical compositions that evoke mindfulness, introspection, and calm. Don’t miss our interview with Cameron Segal, where we discuss composing music, influences, artistic vision, upcoming projects, and life.

Can you tell us how your journey as a composer began? Was there a defining moment that set you on this path?

I started playing piano when I was around four or five years old, and composing came naturally to me. Even as a child, I loved creating little pieces. My parents would give me a phrase or a scene, and I would try to turn it into music. I enjoyed writing far more than practicing, so I often went from lesson to lesson without having touched the piano in between. As a result, I did not progress as quickly as I could have.

In my early teens, I became obsessed with football and eventually decided to quit piano altogether to focus on sport. After high school, I went on to study business at university, but that is when music slowly found its way back into my life, this time through producing techno and tech house.

Around the same period, I discovered neoclassical music and was instantly drawn to it, especially artists like Yiruma and Ludovico Einaudi. I began learning their pieces, and before long I was composing again, trying to write in that same emotional, minimalistic style. Playlists like Peaceful Piano introduced me to many other composers, including Ólafur Arnalds, Joep Beving, Nils Frahm and Chad Lawson, and they all shaped the way I approached writing.

That is when I began composing on a felted upright piano, inspired by these artists I started to release my own music, gradually developing my own sound.

Who or what shaped your artistic voice early on? Any mentors, composers, or personal experiences that were pivotal?

Early on, my artistic voice was shaped mostly by discovering new music through Spotify and Instagram. I was instantly drawn to neoclassical music, and finding artists whose sounds resonated with me really helped guide the direction I wanted to take.

Composing in this genre can feel quite isolating at times, because it’s usually just one person alone at the piano. But connecting with other musicians on Instagram made a huge difference. Many of these artists are based all over the world, in completely different cities and environments, yet they were still able to offer guidance, share advice about developing my sound and inspire me creatively. Those global connections helped me feel less alone in the process and played a big role in shaping who I am as an artist today.

Who are your top three favorite composers of all time, and why? Are there any non-classical artists who influence your work?

Julian Marchall. Early on, his Insight series introduced me to the sound of the felted upright piano, and I instantly fell in love with it. That texture and intimacy had a huge impact on the direction of my own music.

Ludovico Einaudi. He was the reason I returned to the piano after many years away. His music reminded me how expressive and powerful simple, emotional writing can be.

Ólafur Arnalds. I love the way he blends piano with electronic elements, textures and ambient soundscapes. Out of everyone, he is probably my biggest influence at the moment.

Outside of classical and neoclassical music, I listen to a very broad range of genres, from indie rock to disco house. I try to take influence from everywhere, and those different sounds often find subtle ways of shaping my compositions.

What does your typical composing process look like? Do you have any specific rituals or environments that help you get into a creative flow?

My composing process is usually quite simple. I’ll sit at the piano and start improvising until something catches my ear. Once I find an idea I really like, I begin shaping it and developing it into a full piece. Sometimes a piece comes together in 10–15 minutes, and other times it can take hours or even days if I’m trying to refine a very specific sound.

Occasionally, I’ll have a melody in my head before I even sit down, and I’ll build the piece around that. There have even been moments where I’ve dreamed a melody, woken up, hummed it into my phone, gone back to sleep, and then tried to recreate it the next day.

If I ever feel stuck, I usually take a break and listen to music that inspire me. Coming back to the piano with a fresh mindset often helps me find the direction I was missing.

What tools or software do you use when composing, especially when integrating electronic elements?

I use Logic Pro as my main DAW. While living in London over the past four years, I’ve been recording on a Yamaha U1 piano with KM184 mics and a Universal Audio Twin X interface, which has been more than enough for capturing the piano sound I want.

When I’m creating ambient or electronic elements, my go-to tools are Pigments by Arturia and Serum. Sound design isn’t my strongest area, so I often rely on preset packs or samples from places like Splice to find the textures I’m looking for. It works well for me, but developing my sound design skills is something I’m aiming to focus on more next year.

Which piece of music that you’ve composed is your favorite, and what makes it special to you?

My favourite piece I’ve composed is my newest one, “Finding Gratitude,” which releases (or has already released, depending on when you are reading this) on November 28 with Deutsche Grammophon. I wrote it over a year ago, and from the moment I finished it, I felt it was something special. It’s a solo piano piece, and I’m genuinely so proud of how it turned out.

The title reflects a personal moment of gratitude for where I am in life, the experiences that have shaped me, and the people I’ve met along the way. It’s a reminder to appreciate the small things, and I hope listeners can feel that same sense of reflection and warmth when they hear it.

I sat with the piece for quite a while, waiting for the right home for it, and releasing it with Deutsche Grammophon feels perfect. It’s my favourite composition, and having it come out on such an iconic label makes it even more meaningful.

Your new single “First Snow” feels deeply reflective and cinematic. What inspired it, and what does it represent for you personally?

My latest composition, “First Snow,” was inspired by the changing seasons. I originally wrote it last year, just before winter, during that quiet moment of anticipation when everything starts to shift. Whether it’s the first leaves falling in autumn, flowers returning in spring, the first warm day of summer or that magical first snowfall in winter, those small seasonal moments often carry a surprisingly deep emotional weight.

Growing up in Australia, I rarely experienced snow. There were ski mountains you could visit, but in Melbourne, where I grew up, it never snowed. When I moved to the UK in 2021, the first time my partner and I saw snow falling outside our window, we were so excited. We literally ran outside, holding out our hands and watching the flakes melt in our palms.

I wanted to capture that feeling in this piece: the childlike excitement, the sense of wonder and the beauty of a moment that still feels new to me. “First Snow” is my attempt to bottle that experience and share the warmth and joy of it with listeners.

Can you share any details about your upcoming projects or collaborations?

The only piece I have coming out this year is “Finding Gratitude” on November 28, which will likely be my final release before I shift into a new chapter. I’m moving back to Australia in December and will be building my own home studio there. I’ve already ordered new microphones, synthesisers and reverb pedals that are waiting for me, so I’m really excited to set everything up and dive into creating again.

Over the next year, my focus will be on composing more solo piano, while also exploring ambient music, writing for strings, and developing my skills in electronica and downtempo, which I’m particularly drawn to at the moment. I’m also looking forward to getting involved in the Australian music scene, collaborating with new artists and meeting people in that space.

Another big goal for me is improving my live performance setup. I’d love to start mixing live piano with synths and looping, and I’m planning to experiment with that a lot once my new studio is ready.

Finally, from your perspective, what is the meaning of life?

For me, the meaning of life is about finding a sense of purpose and giving more to others than you take. It’s about building genuine, supportive relationships and being someone who lifts people up rather than putting anyone down. I also think it’s about creating a home and a family, and surrounding yourself with people who help you grow. Those are the things that make life feel meaningful to me.