Steve Luck is an experienced and award-winning composer and pianist hailing from Newcastle upon Tyne in the UK. He has beguiled live audiences with his introspective and emotive compositions.
As a media composer Steve has worked on more than one hundred projects including shorts, TV shows, animations and feature films. In 2007 he won two awards from the Royal Television Society for Professional Excellence in Music. His work with production music libraries results in regular use of his music on TV shows across the world.
Since debuting his solo piano music in 2014, Steve has released one full length album, three EPs and seven singles, each displaying his ability to effortlessly weave together intricate musical narratives that captivate and engage the listener.
His latest single release, Bloom garnered praise from critics. Popular music blog Last Day Deaf said “Listening to this 3-minute treasure, what immediately stands out is the sheer amount of emotion it evokes, along with its tranquil and peaceful character.”
Steve’s modern classical piano miniatures explore the delicate interplay between melancholy and hope, forming an engaging body of work which is both contemplative and uplifting.
His pieces have featured on several large Spotify playlists, including the editorial playlist Early Morning by Spotify as well as Relaxing Piano by Double J and Neoclassical New Releases by Andante Piano. Steve is eager to continue expanding his reach and influence within the platform.
The pieces also receive regular support from BBC Radio 3 as well as regional stations and BBC Sounds playlists.
In addition to his work as a recording artist and composer, Steve is also an active within the music community, advocating on behalf of fellow composers. He is a long-standing member of the music writers committee of the Musicians Union and the founder of the Guild of Northern Media Composers. He believes that music has the power to bring people together and is committed to using his talents to create a positive impact.
I’m excited to share that my new album, Homecoming, is out today. This collection of intimate piano pieces has been a long time in the making, and I’m really proud to finally let it out into the world.
Well, the naming competition for my latest piano piece has now finished – and I’m very happy to say that the winning title is Aurelia, suggested by Lisa Jones.
Lisa said she chose the name because “the music sounds like it carries radiance and light and warmth throughout” – and that just felt perfect. When I listened again with that in mind, it really chimed with me. I also looked up the meaning of the word afterwards and loved what I found: Aurelia means “golden” or “the golden one,” from the Latin aureus, associated with preciousness, radiance, and the golden glow of the sun. A lovely fit.
The single will be released on all digital platforms at the end of this month, and Colin Hagan is already working on the artwork – I’ll share a glimpse of that soon.
I was blown away by the words people sent in about how the music made them feel. Here are just a few of the highlights:
“It evokes thoughts of time spent with your family and loved ones, and how lucky we are for what we have.”
“Listening naturally brought up memories…no subject, no reason, no place and no time, but the heart remembered – the emotions and the longing.”
“It makes me think of that beautiful feeling you get on a train where whole landscapes are passing by – that mix of melancholy, peace and wonder.”
“As I listened for the first time, the sun was slipping below the horizon – that soft, golden moment when day exhales into night… quiet reflection, gentle longing, and a kind of light that only exists for a few fleeting minutes before the stars come.”
Reading these was really moving – it’s always fascinating to hear what people hear and feel in the music.
Have a listen again and see if you can hear a connection between the music and the new title!
Here’s part two of my piano desert island discs – five more pieces that have inspired me, stuck with me, or made me want to practise a lot more. A mix again of styles, approaches and eras, but all united by the same thing – they moved me in some way.
(adobe express please insert groovy AI image of piano on desert island – take a look at the seat…is it even a seat? looks a little challenging to balance on on the sand – especially for someone of my build!)
1. Hania Rani – Live from Studio S2
An amazing solo performance that combines acoustic piano with subtle electronics in a really beautiful way. It’s affecting and impressive in equal measure – the kind of performance that pulls you in and doesn’t let go. There’s technical virtuosity here, yes, but it always serves the music. One of the best examples of how modern piano can expand in all directions while still feeling deeply human. 🎧 Watch here
2. Brad Mehldau – Blackbird
This live version, filmed at the Steinway showroom in Hamburg, is a total gem. There’s such economy and clarity in his playing, but also so much feeling. He builds the whole thing around a repeated G note, with everything else moving around it – like the world shifting while one thread stays steady. I was blown away by the structure of this performance – it develops so naturally, the increasing complexity drawing you in until you realise it’s taken you somewhere completely new. A quiet masterclass. 🎧 Watch here
3. Ludovico Einaudi – I Giorni
This piece has become really popular with piano students in the last decade or so. There’s a version filmed at Steinway Hall in New York that’s well worth a watch. Einaudi himself said: “I was among the first of a new generation to create and to write music that was, let’s say, playable and contemporary… I think the music that I started to create was, in a way, filling the space left open and abandoned by composers.” He was classically trained, studied with Luciano Berio, and had all the tools for a big career in the classical world – but instead chose to carve out his own musical path. He gets criticised for the simplicity of his music, but I’ve said it before – simplicity is not a weakness. The communication is direct and honest, and there’s a beautiful blend of melancholy and hope in this piece that I find really moving. 🎧 Watch here
4. Dr. John (Mac Rebennack) – Mac’s Boogie
This was on heavy rotation on cassette when I was a student in the late ’80s. Technically, I was supposed to be studying classical music – in reality I spent most of those three years trying to play blues and boogie woogie in C major, and this was exactly the kind of thing I wanted to emulate. It’s got everything – driving rhythm, complex runs, turnarounds, and that wild energy that makes boogie piano such a joy to listen to and play. Built on a simple 12-bar blues form, but packed with invention and flair. 🎧 Watch here
5. Ben Crosland – Oceans Apart
Ben’s a fellow pianist, teacher and composer based in Worcestershire. Some of you might remember we were due to play together in Newcastle in 2020 – a concert also featuring Canadian pianist Nathan Shubert – but it had to be moved online because of the lockdowns. Oceans Apart was the track that really brought Ben to wider attention – it ended up on Spotify’s Peaceful Piano playlist and has now had more than 83 million streams. And deservedly so. His work across the board – composing, performing, recording, producing – is consistently excellent. This track is just one of many examples. Beautiful, understated, and full of feeling. 🎧 Watch here
That’s part two. Hope you find something new to love here – or rediscover something you’d forgotten.
Thanks for reading. Have a lovely day.
Steve
PS: My next live performance is inside the incredible Victoria Tunnel in Newcastle on Friday 19th September 2025 at 7.30pm. A solo piano concert in one of the most atmospheric venues around. 🎟️ Tickets available here
There are certain pieces of piano music that have inspired me, shaped the way I play, or just made me feel something deep and lasting. I thought it might be nice to share some of them here, like my own version of Desert Island Discs but focused purely on piano. It’s a bit of a mixed bag – classical, jazz, filmic, soulful – but that’s the point. These are the ones I’d take with me if I had to disappear to a quiet island.
Here are the first five…
1. Yuja Wang – Flight of the Bumblebee
A masterclass in control. Playing fast is one thing, but playing fast and quietly? That’s where the real challenge lies. This encore performance by Yuja Wang is a total joy – dazzling, playful, and technically outrageous in all the best ways. The quietness of the crossed hands sections and the contrary motion scale passage near the end as well as the delicate nature of the ending are particularly impressive. 🎧 Watch it here
2. Nina Simone – Backlash Blues
I saw Nina Simone perform this live at the Oxford Playhouse back in 1990 when I was a music student. It was soulful, emotional, and deeply powerful – a performance that’s never left me. She had this way of turning pain into beauty, protest into poetry. When she died, she left behind a fearless legacy. Classically trained, but uncontainable, she wove blues, gospel, jazz, and politics into every performance. Backlash Blues was her setting of a Langston Hughes poem. Released in 1967 during the height of civil rights protests, it’s part piano lament, part call to action. As folk singer Rhiannon Giddens once put it: “Nina Simone was more rock & roll than a bunch of people who have already been inducted into the Rock and Roll Hall of Fame.” 🎧 Listen here
3. Ólafur Arnalds – Particles
Taken from Island Songs, this track gets me every time. Everything about it – the composition, the arrangement, the vocal performance by Nanna Bryndís Hilmarsdóttir, and the video is really cool. It’s one of those pieces where you don’t want to change a single note. It’s fragile, beautiful, cinematic, and I find it incredibly moving. Its the perfect companion if you are having a tough time. 🎧 Watch here
4. George Winston – Joy
This is from his December album, which I listened to constantly in the late ’80s. At the time, it felt like something completely new. It was released on the Windham Hill record label and originally was part of what became known as “new age” music – a term which feels a little out of date now. Windham Hill produced music that was difficult to define, with elements of classical, folk, and jazz, nearly all of it instrumental, acoustic, and mellow. The album is an intriguing blend of classical textures with more modern, pop-influenced harmonies. It felt fresh, accessible, and unpretentious – the opposite of the high-art classical music snobbery I’d always rebelled against. When I got married, this was the piece that Tracey walked down the aisle to. 🎧 Listen here
5. Oscar Peterson – Ballad to the East
Oscar Peterson was one of the greatest ever technicians on the piano. Everything he played had this irresistible swing – even the slow stuff. I was amazed by his virtuosity and wanted to play music like that from the moment I first heard him. My teacher at the time, the brilliant Janet Nicolls (who did a huge amount to raise the standard of piano teaching in the North East through her work with EPTA), pointed me to his Canadiana Suite. Ballad to the East really stuck. It’s full of beautiful harmonies making use of plenty of “expensive chords” and expressive rubato – perfect for stretching your phrasing muscles. I ended up playing it as a solo piano piece by way of an introduction to the 2nd set with one of my first bands in the early ’90s – we were called Mr Lucky. 🎧 Watch here
That’s it for part one. I’ll be back soon with five more piano tracks that have stuck with me over the years – including a few lesser-known gems and some modern favourites. Hope it’s sparked some memories or discoveries of your own. Please please do reply or comment below with your favourite pieces of piano music – I would love to get your suggestions.
Inside the process of musical improvisation, and a night you won’t want to miss
Improvising has always been one of the most fascinating and mysterious parts of playing the piano for me. That feeling of sitting down with no plan, no sheet music, and seeing where the sound takes you… it’s part risk, part trust, and part curiosity.
In the past I’ve spent a lot of time exploring that world – not just in purely musical settings, but also as part of improv comedy groups in and around Newcastle like The Suggestibles and On the Spot. With The Suggestibles, the second half of the show was often a completely improvised musical, made up on the night with songs, characters, and storylines being created in real time. It taught me a lot about listening, staying open, and the golden rule of improv: say “yes, and…”. It’s all about building, not blocking – following ideas, not shutting them down too early.
And while music and comedy are different, the spirit is the same: stay present, trust your instincts, and enjoy the surprises.
Improvising at the piano isn’t just randomly pressing keys and hoping something nice happens – although actually when I think about it that is quite a good start. At its best, it’s about listening deeply to what’s already in the air. It’s about responding, shaping, leaving space, and trusting instincts. And maybe just allowing yourself to follow a thread without knowing exactly where it’s heading.
Sometimes it starts with a single note. Or a small pattern or a rhythm or a fragment of melody. You play something, and you listen to what it suggests. Then you play the next thing in response to that. And again. And again. If you’re lucky, the piece starts to reveal itself as you go.
The trick (if there is one) is to try stay in the moment, without trying to plan too far ahead. Too much thinking – especially making early judgements about the quality of what you have played can really get in the way. It’s more about feel and flow. It’s a bit like a conversation: you don’t usually script what you’re going to say in advance – you just talk, and trust that the words will come.
Improvisation’s been at the heart of music-making for centuries. Bach did it. Mozart did it. Keith Jarrett definitely did it. If you haven’t heard it before you should definitely check out his Köln Concert – is a live solo double album recorded at the Opera House in Köln, in 1975 and released later that year. It is the best-selling solo album in jazz history and the best-selling piano album of all time. In 2025, the album was deemed “culturally, historically, or aesthetically significant” by the Library of Congress.
It’s a masterclass in following the moment and proof that sometimes, making it up as you go can lead to something timeless.
One of the very best…
Which brings me to Paul Taylor – a master improviser if ever there was one.
Paul’s one of those rare musicians who can sit at a piano and make something totally fresh, utterly compelling, and completely in the moment. He combines a deep understanding of the instrument with a wildly inventive musical imagination. His playing can be tender, raw, humorous, unpredictable – sometimes all within the same piece. And no two performances are ever quite the same.
He’ll be bringing his one-of-a-kind approach to a special studio concert on Friday 4th July at 7.30pm, right here at 36 Lime Street in Newcastle. If you’ve never heard Paul play live before, you’re in for a real treat. And if you have you’ll know why I’m so excited he’s doing this.
Space is very limited for this one – it’s an intimate setting, just a few rows of chairs and a piano (or two). If you’re curious, I’d definitely recommend booking early – especially as there are early bird discounted tickets still available for now.
Just back from a bit of time out in Zakynthos – much-needed sun, some swims, and a proper chance to stop for a while. I took Mood Machine with me – a book by Liz Pelly that digs into Spotify and how it’s reshaping the music industry. Its by far the biggest digital music platform in the world. It wasn’t the most relaxing holiday read, but it was definitely thought-provoking.
The gist of it is that Spotify pushes a certain kind of listening – mood playlists, algorithm-led recommendations, background music that’s designed not to stand out too much. They call it ‘lean back’ listening, and they actually promote this kind of passive, background playlist listening as a lifestyle choice – calm music for studying, ambient sounds for working, chilled beats for cooking dinner. It’s not about discovering artists so much as curating a vibe. The book makes the point that this approach side-lines musicians in favour of moods – the music becomes functional rather than personal, and the people behind it are often invisible. Instead of encouraging deeper engagement with albums or artistry, it all gets flattened into a stream of anonymous, interchangeable tracks that support the user’s activity, not the artist’s expression. It’s efficient, but it’s not exactly nourishing.
It’s made me think more carefully about how and where I share my music. Like a lot of artists, I’ve had moments of chasing the idea that something might land on a big playlist and suddenly take off – but the odds are slim, and even when it does happen, the impact is often short-lived. One of the biggest frustrations is that if a track does get picked up, it might reach a lot of ears, but I’ve got no way of knowing who those listeners are, or how to keep in touch with them. Spotify holds all of that data – so every time I release something new, I’m basically starting from scratch again. It’s a constant cycle of pushing things out into the void and hoping they stick. And it’s made me realise how much more I value the spaces where I can actually connect with people directly – like here.
What’s becoming clearer is how important real, personal connection is – far more than trying to game the system for a few extra streams. That’s why this newsletter matters to me. If you’re reading this, you’re part of something that feels a bit more direct and honest, and I really appreciate your support.
I’ll post a few holiday photos below (look out for the blank musical score inviting a composition written across the sky), but before I go just a quick heads-up on a couple of upcoming things too:
🎹 Thursday 20th June – back underground and in the dark in the Victoria Tunnel for a solo show. It’s a unique place to play – quiet, atmospheric, and always a bit special.
🎹 Thursday 4th July – hosting Paul Taylor at my studio at 36 Lime Street. Paul’s an amazing improvising pianist whose work is full of subtlety and surprises – I’m really looking forward to hearing what unfolds (more details about him coming soon)
I often get asked how I record my piano tracks – especially the quiet, intimate ones with that soft, felted sound. So I thought I’d share a bit about the setup I use at home. Nothing too flashy or high-end, but it works really well for the kind of music I make.
Firstly, the piano itself. Despite having a 1905 Bechstein grand piano in the studio I tend to record most of my solo piano pieces on my Yamaha E108 upright. It’s got a warm, honest tone that I really like. To get that mellow, close-up sound, I’ve added a bit of DIY felting – not with a specialist kit or anything high-tech, just an old t-shirt stuck with gaffa tape between the hammers and the strings. It dampens the attack a little and softens the overall tone, creating an intimate, muted sound which is perfect for the quiet modern classical pieces I tend to write.
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For mics, I use a matched pair of Rode NT5s, placed in a spaced pair setup, often just a few inches away from the strings. They’re small diaphragm condensers – clean, detailed, and they pick up the subtle nuances really nicely. I usually spend a bit of time moving them around to find the sweet spot – too far back and it loses intimacy, too close and it gets a bit percussive with an increase in the amount of mechanical noises from the piano. But once they’re set up, they really do capture the character of the piano and the room beautifully.
The mics go into an RME Babyface Pro audio interface. I’ve had it for years – its solid and reliable, with really clean sounding preamps. From there, everything gets recorded straight into Cubase Pro 14, which I’ve also been using for years. I like how flexible it is, and I’ve got a few go-to presets and plugins that help shape the sound without over-processing. I try to keep the mixes simple and natural – just a bit of EQ, maybe some reverb, and some gentle compression if needed. Most of the work is really about getting a good performance and capturing it clearly, rather than trying to fix things afterwards.
The other tech gear that needs setting up during a session is for video recording – I will often have two or three cameras and a couple of lights to position correctly and switch on at the appropriate times and then the footage to edit afterwards. Its often one of the more time consuming elements as its not particularly my area of expertise. If any of you reading fancy coming along to assist with recordings (in a voluntary capacity) do reply to the email – sometimes I have my hands full and I am really glad of a bit of help on a session so I can focus on my performance!
I mostly master my own music (I will do a separate post on that process if anyone is interested?) but one important aspect that I try to stick to when possible, is that I always leave mastering until a few days after recording so I can come back to the piece with fresh ears.
One of the things I love most about this audio setup is that it’s pretty portable and quick to get going – which means if I’ve got an idea, I can usually be up and recording within a few minutes. Having said that, most pieces that I write tend to ‘emerge’ over a period of time. I will come up with some initial improvised ideas – often just recorded into my phone voice recorder – I’ve found that being able to catch ideas when they’re fresh is more important than having a ‘perfect’ recording environment.
I will then develop and refine these ideas and once the piece is complete (there’s a question…how do you know when its finished??? I can feel another post coming on!) I will set the mic’s up in the studio and record a number of takes until I get one that I am happy with.
So that’s it really – a Yamaha upright, an old t-shirt, a bit of practice, a couple of Rode mics, and a bit of Cubase magic. Nothing too fancy, but it feels personal and honest, which is what I’m aiming for in the music too.
If you’re into recording and want to know more about any of the gear or settings I use, feel free to ask – happy to share more if it’s helpful.
Have a great week
Steve
PS Tickets are on sale for my show with Glacis on Friday 23rd May at 7.30pm here in my studio at 36 Lime Street. It would be lovely to see some friendly faces there. Book now at https://www.ticketsource.co.uk/steve-luck-music
PPPS Stream my latest single ‘Still Rising’ now https://hypeddit.com/steveluck/stillrising – if you are able to spare a minute or so to help, please share this link on social media and add the track to your playlists and download it to your library – many thanks!
Welcome to Behind the Score, a new occasional strand in my newsletter where I’ll be revisiting past film projects I’ve scored, sharing insights into the creative process, and reflecting on how these experiences shaped my work. Over the years, I’ve composed music for a wide range of film projects, from intimate dramas to quirky comedies, animations and feature films and I’m looking forward to opening up the archive to explore how music can bring stories to life in ways that aren’t always obvious.
First up is Boy Meets…, a short film written and directed by Graeme Beech and produced as part of Northern Film & Media’s Stingers series in 2006. At just under three minutes long and without dialogue, it was a gift of a project for a composer – allowing music to take centre stage in telling the story. The film plays with the conventions of silent cinema and classic cartoon chase sequences, following a hapless romantic as he unsuccessfully pursues a mystery woman through the streets of Darlington. It’s light-hearted and playful, with a touch of magic, and that tone became the foundation for my approach to the score.
From the outset, I knew I wanted the music to enhance the comedy without being too ‘on-the-nose’. One of the key challenges in scoring for comedy is avoiding the temptation to simply mimic the action – too much ‘whoops, bang, wallop’ can feel obvious and actually take away from the humour. Instead, playing things relatively straight can heighten the comic effect. With Boy Meets…, I chose a light orchestral palette, often featuring pizzicato strings and a ‘comedy-friendly’ tuba. The tuba, with its slightly pompous, raspy quality, has a long association with comedy, and I leaned into that to underscore the protagonist’s well-intentioned but doomed efforts.
The score follows the episodic structure of the film, moving in short bursts like a series of vignettes. The main theme is set in 6/8 time, giving it a skipping, playful quality, and I added crushed notes (acciaccaturas) to create little moments of musical surprise – these unexpected notes add a touch of clumsiness that suits the character’s journey. There’s also a recurring use of the glockenspiel, which introduces a sense of mystery and magic, particularly in a key moment where the girl seems to disappear. The orchestration is deliberately kept light, avoiding anything too grand that might overshadow the film’s charm.
After completing the score, the film premiered at the Tyneside Cinema, which was a nerve-wracking but exciting experience – watching it with an audience for the first time gave me a real sense of how the music shaped their reaction to the story. The project went on to become a great show reel piece, leading to further work, and was part of the portfolio that helped me win an RTS Award for Professional Excellence in Music, presented at the Sage in Gateshead in 2007.
Looking back, Boy Meets… was a reminder of just how much music can influence the way a story is perceived. It was a joy to work on, and I’m glad to have the chance to revisit it here. If you’d like to watch the film and hear how the music interacts with the action, you can check it out below. I’d love to hear what you think!
Thank You!
A huge thanks to everyone who came along to Ouseburn Open Studios and to the concerts with Sergio Díaz De Rojas in Newcastle and Barnard Castle. It was a full-on weekend of music—26 performances in total! but I had an amazing time playing for so many of you. It’s always special to share my music in such intimate settings, and it was a pleasure to collaborate with Sergio. If you came along, I really appreciate it, and I hope you enjoyed the music as much as we did!
Upcoming Studio Concerts
My next series of concerts is coming up soon, starting with two performances at 36 Lime Street. The first is with Charlotte Butler, a brilliant pianist and composer whose music has a beautifully evocative quality. Then, in May, I’ll be joined by Glacis, whose immersive sound world makes for a perfect evening of captivating and atmospheric music. These are intimate performances in my studio space, offering a close-up listening experience.
📅 Friday 11th April, 7:30pm – 36 Lime Street (with Charlotte Butler) 📅 Friday 23rd May, 7:30pm – 36 Lime Street (with Glacis)
Victoria Tunnel Concerts – June, September & December
If you missed my last concert in the Victoria Tunnel, there are more coming up this year. The acoustics underground are something special, and the near-darkness really enhances the atmosphere of the music. These concerts almost always sell out, so if you’d like to come, be sure to book ahead.
📅 Friday 20th June, 7:30pm – Victoria Tunnel 📅 Friday 19th September, 7:30pm – Victoria Tunnel 📅 Saturday 20th December, 7:30pm – Victoria Tunnel
I’ll also be playing another concert at Yamaha Music School in Blyth this summer, again with Charlotte Butler. I’m looking forward to bringing the music back to this beautiful concert room in this lively music school!
📅 Saturday 26th July, 7:30pm – Yamaha Music School, Blyth
A quick reminder that my latest solo piano piece, Drift, is out now on all streaming services. https://hypeddit.com/steveluck/drift It’s a gentle, reflective piece – one of those that came together quite naturally at the piano. If you’re enjoying it, I’d really appreciate it if you could add it to a playlist on Spotify, follow me as an artist, and help spread the word by sharing it with friends. You can also watch the music video here:
Thanks for listening!
Thanks for Your Support
As always, I really appreciate you taking the time to listen, come to concerts, and support my music. It makes all the difference, and I’m grateful to be able to keep sharing these moments with you. Hope to see you at a show soon! Keep in touch.
A question that comes up from listeners fairly regularly for me is why are my piano pieces almost always short? Its true – there aren’t many that go over three minutes. One thing that has appealed to me about this approach is the challenge of trying to say a lot in a short time. You don’t necessarily need long, complicated compositions to create something that hits hard emotionally. A short piece can be just as powerful, if not more so, because it distils everything down to its essence.
When I sit down to write, I’m often focused on capturing a particular mood or feeling. It’s not about telling a whole story, but more like sharing a snapshot of a moment in time. For me, that’s what short piano pieces are all about: creating a little world in a few minutes.
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Why I Love Writing Short Works
Short pieces let you focus on the small things – the shifts in dynamics, the subtle pauses, the way a single chord can change the whole mood of a piece. I find I can really dig into these details in short works. You don’t need a lot of notes to create something meaningful. I’ve always felt that some of the best emotions come from the smallest moments.
For example, Homecoming is a slightly faster piece than lots of my other work, but it still has a reflective feel. It’s about the journey home after time spent away – the sense of returning, of moving through familiar spaces with a mix of relief and thoughtfulness. It doesn’t need to be big or dramatic. It’s about that feeling of quiet movement, the anticipation of returning to a place you know, and yet it still has a lot to say in its few minutes. The piece captures both the energy of a journey and the calm of being home again. Watch the music video here.
The Challenge of Short Works
While short pieces offer a lot of emotional punch in a small package, they do have limitations. With fewer minutes to work with, there’s less room for the kind of development you might find in a longer piece. There’s no space for themes to really evolve and grow the way they can in a more expansive work. Every note has to earn its place, and there’s no room for filler. The themes often have to be succinct and to the point, which can make them feel more immediate, but also more contained.
That said, there’s something quite beautiful about that conciseness. Short works can pack a lot into a small space, and they don’t waste time. They’re about capturing a moment, not telling a story over a long span of time. It’s a different approach to music, but it’s one that I really enjoy.
Why Short Pieces Feel Personal
I’ve always felt a more personal connection to short pieces. When I write them, it’s like I’m sharing something small but meaningful, a quick thought or feeling that I don’t want to over-explain. It’s like giving a small gift – something simple, but it says everything I want to say at the time.
That’s also why I think they connect so well with people. They’re easy to take in, but they leave you with something. You don’t have to sit for hours to understand the music- it’s more like a fleeting moment that stays with you.
Short Piano Works in the Live Setting
I’ve played a lot of short pieces in concerts, and there’s something special about how they come across in a live setting. You can hear everything clearly – the quiet shifts, the pauses, the way the music breathes. I think that’s what I enjoy most when playing these pieces live – it’s about that personal connection, the small moments that draw people in.
During the Ouseburn Open Studios weekend, I’ll be playing a mix of short pieces in my studio, including Homecoming, and I’m always struck by how much people seem to appreciate the intimacy of these performances.
A New Release: Drift Is Out Today
Speaking of short pieces, I’ve just released a new one called Drift today. It’s another quiet, intimate piece that I think fits into this same idea of capturing a mood in a small space of time. It’s about letting things float and settle, like drifting through a moment of calm. If you’ve enjoyed pieces like Homecoming or Hidden, this one fits right in with that kind of feeling. You can listen to it now, wherever you stream music via this link https://hypeddit.com/steveluck/drift or watch the music video here https://youtu.be/sXIxTWPoOAM?si=t9Ct-oMX649jRXgC
The artwork for the single release is by long term collaborator Colin Hagan.
Thank you so much for your continued support – it really means a lot to me. If you’ve enjoyed this post, please consider liking, commenting, or sharing it with others. Your feedback helps me keep doing what I love, and sharing it helps me reach more people who might enjoy the music. I really appreciate you taking the time to read and listen.
Find your dream piano, hear my latest track, and see where I’m playing next!
Hi everyone,
I hope this post finds you well! This month, I’ve got some exciting updates for you, including tips on buying a second-hand piano, 2025 live dates, a BBC Radio 3 feature for my track One Little Victory, and the exclusive premiere of my new release, Hidden, which comes out on Friday.
🎹 The Ultimate Piano Buyer’s Guide: How to Avoid Costly Mistakes and Find the Perfect Piano for Your Budget!
Thinking of buying a piano? It’s a big investment, and making the right choice can be daunting. Fortunately, Mark Goodwin, with over 20 years of experience in the piano trade, has shared his insider tips to help you avoid common pitfalls.
Why “free” pianos could cost you thousands.
The best buys between £500–£8000.
Brands to avoid—and gems to look out for.
This guide will give you the confidence to find a piano you’ll cherish for years to come. 👉 Read the full guide here.
🎶 Live Dates for 2025
Tickets are already on sale for my upcoming concerts! Mark your calendars, and grab your seats early to take advantage of reduced price entry on studio (36 Lime Street) concerts.
Friday 14th March, 7:30 PM – Victoria Tunnel, Newcastle
Friday 20th June, 7:30 PM – Victoria Tunnel, Newcastle
Saturday 26th July, 7:30 PM – Yamaha Music School, Blyth (with Charlotte Butler)
Friday 19th September, 7:30 PM – Victoria Tunnel, Newcastle
Saturday 20th December, 7:30 PM – Victoria Tunnel, Newcastle
I’m delighted to be sharing my studio with some incredibly talented musicians in the first half of 2025. Sergio Díaz De Rojos is a Peruvian composer and pianist known for his heartfelt, minimalist pieces that transport listeners to quiet, introspective places. Charlotte Butler is a rising star in the modern classical world, captivating audiences with her ethereal compositions and expressive playing. Glacis, the project of Euan Millar-McMeeken, blends piano with delicate electronics, creating deeply moving and cinematic soundscapes. Collaborating with these amazing artists is a real privilege, and I can’t wait for you to experience their music in the intimate setting of my studio concerts.
I’m thrilled to share that my track One Little Victory was featured on BBC Radio 3’s Unwind: Piano Focus. I’m chuffed to be on the same show as Bach, Haydn, Chopin and Brian Eno! If you missed it, you can still catch it on BBC Sounds until 21st February 2025. 🎶 Listen here.
🎥 Hidden out now
My new track Hidden came out last Friday – you can watch the video below!
Hidden draws inspiration from the idea of unseen emotions and subtle connections that lie beneath the surface. The piece evokes a sense of quiet reflection, inviting listeners to immerse themselves in a world of introspection.
I would love to know what you think – leave a comment below.
Thank you, as always, for your support. Whether you’re joining me at a concert, discovering new music, or exploring the piano world, I’m grateful to have you along for the journey.
