When Shadows Talk by Fiona Joy Hawkins
Reflections in Neoclassical Soundscapes

In “When Shadows Talk,” Fiona Joy Hawkins presents an evocative collection of twelve neoclassical and new age solo piano pieces, each carefully crafted and emotionally impactful. Released on May 15, 2025, this album marks a new chapter in Hawkins’ ongoing journey of musical storytelling and self-exploration. Fiona Joy Hawkins, renowned for her deeply evocative piano work and masterful compositions, has once again graced listeners with a profound and moving album: When Shadows Talk. This latest release extends Hawkins’ reputation as an artist capable of translating the complexities of human emotion into poignant musical narratives. Within its tracks, the album confronts the sorrow and devastation of war while also offering moments of tender beauty and hope. Hawkins once again welcomes listeners into a deeply personal world where music serves as both mirror and window—reflecting introspection and illuminating hidden corners of our inner lives.

Fiona Joy Hawkins is well known internationally. An Australian pianist, composer, and singer, she has performed at prestigious venues like Carnegie’s Weill Hall in New York and has been featured on Echoes/NPR Radio. Her piece “Grace” was included on a Grammy-winning album in 2014, and she continues to explore new frontiers in contemporary instrumental music. For this recording, Hawkins selected a rare and exceptional instrument: a 97-key handmade Australian Stuart and Sons concert grand piano made from Huon Pine. The extended range and distinctive timbre of this piano give Hawkins’ compositions a rich and clear sound, creating an album with a remarkable blend of grandeur and intimacy that makes it stand out.

At the heart of When Shadows Talk lies “The Ghosts of War Are Marching,” a piece that captures the bleak realities faced by those caught in the crossfire of conflict. Hawkins crafts a somber, immersive soundscape that pulls the listener into the emotional devastation wrought by violence and upheaval. The composition is a haunting tapestry of minor chords and swelling dynamics, each note reverberating with the pain and uncertainty enduring throughout war-torn regions.

The song’s accompanying video adds a visual layer to the emotional resonance. Through stark, unflinching imagery, viewers witness refugees traversing the ruins of their former homes—buildings reduced to rubble, streets once familiar now littered with the aftermath of explosives and relentless fighting. Hawkins does not shy away from the harsh end results of warfare: the video foregrounds the suffering of civilians, the loss of sanctuary, and the heartbreak of displacement.

As shadows fall across the shattered landscape, the “ghosts” referenced in the song’s title are revealed not as specters of the past, but as the living survivors—men, women, and children who must navigate the devastation left behind. Hawkins’ music mourns not only the dead, but also those who continue on, searching vainly for normalcy, safety, and hope in a world that has been violently reshaped. Each refrain in “The Ghosts of War Are Marching” is a meditation on the trauma of survival, the relentless ache of grief, and the profound need for empathy and understanding.

War, Art, and Empathy: Music’s Unique Power Hawkins’ artistic vision goes beyond simple depiction; she strives to foster empathy in her listeners, inviting them to contemplate the true cost of violence. Through her music, the horrors of war are not distant headlines but immediate, intimate stories. The use of piano as the central instrument amplifies this intimacy—its voice is fragile yet persistent, echoing the resilience of those who have lost so much.

The video’s imagery and the song’s emotional depth are especially poignant in a time when conflicts around the world continue to displace millions, leaving countless individuals without homes, futures, or even basic security. Hawkins uses her platform to remind us that the survivors, these “ghosts of war,” are often invisible to the broader world, their suffering overlooked amid the cacophony of political rhetoric and historical narratives. Her music demands that we bear witness.

While “The Ghosts of War Are Marching” forms the album’s somber core, When Shadows Talk also features moments of transcendent beauty and grace. Songs such as “Lava and Snow,” “The Mirror,” and “Stasis” provide counterpoints to the darkness, offering the listener reprieve and reflection in the midst of turmoil.

•   Lava and Snow: This piece explores the tension and harmony between opposing forces. Hawkins uses evocative melodic lines and gentle harmonies to conjure images of molten intensity and delicate chill, weaving these contrasts into a seamless composition. The interplay between heat and cold mirrors the emotional fluctuations experienced in times of stress and uncertainty, yet the overall tone is one of acceptance and peace.

•   The Mirror: A contemplative work, “The Mirror” invites listeners to gaze inward, to examine their own emotional responses to hardship and beauty alike. The simplicity of the piano melodies, combined with subtle shifts in tempo and dynamics, encourages a meditative state. Hawkins’ touch is delicate, her phrasing graceful; the track feels like a personal conversation between artist and audience, fostering self-reflection and healing.

•   Stasis: The closing notes of “Stasis” evoke a sense of calm and resolution, a gentle reminder that even after upheaval, moments of stillness and balance are possible. The composition’s elegant structure and soothing progression make it a highlight of the album—one that rewards repeated listening with new layers of meaning and emotion.

Hawkins openly shares about her self-imposed lockdown during much of the writing process, a deliberate exile meant to help her dig deep and find her creative core. This solitude offered the space to discover what often lies beneath the surface—personal truths and broader community conversations that are often ignored or suppressed.

Each composition becomes an intimate dialogue between the artist and her shadows, where the act of creation is both cathartic and revelatory. The music is imbued with a sense of searching, longing, and the resilience needed to face obstacles both internal and external.

No great art is born without challenge, and Hawkins’ journey to bring “When Shadows Talk” to life was fraught with unexpected difficulties. From the outset, the project encountered significant hurdles, beginning with the need to locate a replacement piano on the very first day of recording. Technical and logistical problems abounded: instrument and venue issues, three broken strings, a mysterious “buzz” in A above middle C (A4) caused by a screwdriver left inside the piano, and an array of ambient disruptions—wood-chopping, lawn-mowing, dog barking, council trucks rumbling by, rain pounding on a tin roof, and the unpredictable expansion and contraction of the building frame.

There were moments of pure comedy and exasperation—a two-hour power outage, recurring mic connection issues, and the composer herself hitting the wall in exhaustion and frustration. Yet amidst this chaos, the project endured, thanks in part to the dedication and expertise of those involved. Hawkins is quick to credit Peter Stevenson (Producer), Michael Luchich (Engineer), Wayne Stuart (Piano Maker), Tony Prince (Piano Tuner), Tom Eaton (Master Engineer), and Mark Bean (Photographer) for their unwavering commitment to the album’s success.

The result is a work that is not only beautiful but also authentic, shaped by perseverance and the willingness to embrace the unexpected.

“When Shadows Talk” is best understood as a journey—one that explores Hawkins’ inner world while providing refuge and resonance for the listener. Each piece tells a story, inspired by both personal experience and universal themes. The music examines the tension between isolation and connection, the vulnerability of artistic creation, and the quiet courage needed to face one’s own shadows.

Listeners encounter compositions that evoke stillness and movement, contemplation and revelation. The album’s neoclassical and new age palette is marked by lyrical melodies, intricate harmonies, and a sensitivity to dynamic nuance. Hawkins’ technique is masterful yet always in service of expression, never overshadowing the emotion at the core of each track.

The extended range of the Stuart and Sons piano allows Hawkins to paint with a broader spectrum of color and depth, from thunderous bass passages to shimmering high notes. The result is an album that feels at once expansive and intimate, capable of drawing listeners into its world and holding them there.

Hawkins is generous in her gratitude for those who helped realize her vision. Peter Stevenson of Turn Around Music produced the album, lending his expertise and creative perspective. Michael Luchich engineered the sessions, navigating the technical challenges with skill and patience. Mastering was handled by Tom Eaton, ensuring the final product was polished and true to the artist’s intent. Wayne Stuart’s craftsmanship in building the piano was instrumental, and Tony Prince’s tuning expertise kept the instrument in pristine condition despite the rigors of recording. Mark Bean’s photography adds a visual dimension, capturing the spirit and atmosphere of the project.

This spirit of collaboration is palpable throughout the album, underscoring the idea that while artistic creation may be a solitary journey, its realization is often a communal effort.

Ultimately, “When Shadows Talk” stands as a testament to Hawkins’ artistry and resilience. Despite the obstacles and delays, the finished album is a work of beauty—one that invites listeners to find something of value within its notes and silences. The pieces are both deeply personal and universally resonant, offering moments of reflection, solace, and inspiration.

The acoustic qualities of the album are superb, capturing the warmth and clarity of the Stuart and Sons grand piano. The production is unobtrusive, allowing Hawkins’ playing to shine. The contemporary instrumental and neo-classical elements are blended seamlessly, creating a soundscape that is both modern and timeless.

“When Shadows Talk” is more than an album—it is a conversation between the artist and her audience, between the self and the world. It is a reminder that the creative process is often messy, unpredictable, and demanding, yet profoundly rewarding. Hawkins’s willingness to dig deep, to embrace both the shadows and the light, results in music that is honest and moving.

For fans of neoclassical and new age piano, as well as those seeking art that speaks to the heart and mind, “When Shadows Talk” is an essential listen. It is an album shaped by experience and perseverance, crafted with love, and offered as an invitation to reflect, connect, and find beauty amid the darkness.

Reviewed by Michael Foster for Ambient Visions

Tracklist:

1. Stasis  (4:36)

2. The Ghosts of War Are Marching  (3:07)

3. Lava and Snow (4:52)

4. Angel's Message (5:25)

5. The Lost Ballerina (solo piano) (3:22)

6. In the Deep (2:22)

7. Outside the Circle (4:41)

8. Find the Clearing (3:09)

9. The Mirror (3:14)

10. The Journey (solo piano) (5:03)

11. Hitting the Glass (1:26)

12. The Brown Bird (2:39)