About

About

Biography

in_brief-ish:

Aaron Beaumont makes music for stage, for screen, and for practically any other thing, whenever possible. As a writer and performer, he’s shared his work in wide-ranging venues from the Sziget Festival in Budapest to KCRW Santa Monica to Theatre 80 in the East Village to the main stage of the West Hollywood Carnaval. L.A. Weekly wrote that Aaron’s music brings “a new life to the ancient music-hall/pop piano-man tradition, with clear-headed songs of genuinely witty lyrical oomph and, most of all, a historically informed musical depth – all delivered with style, grace, wit and elan, of course.” Recently, he was a finalist as a composer and lyricist for the Fred Ebb Award for his work on the original musical Behind Closed Doors, co-wrote / arranged music for the forthcoming feature Permission (Rebecca Hall, Jason Sudeikis, Tribeca 2017), contributed an original song and several arrangements to Gil McKinney’s 2017 debut album (#1 iTunes jazz, #8 Billboard jazz), and premiered a new song cycle, Midtown Antoinette, with Parisian soprano Lorelei Zarifian for Florida Tech / Foosaner Museum / WFIT. He’s currently developing a pair of musicals with playwrights in LA and NYC, where he also occasionally helps produce outrageous bingo raves (Rebel Bingo), most recently at L.A.’s Globe Theatre for Night on Broadway. Aaron served as a 2017 Artist in Residence for the Spark & Echo Arts project, and also works as a composer, arranger, and producer for the Gregory Brothers / Schmoyoho, whose original music has earned them a gold and platinum record and nearly one billion views on YouTube. He co-founded the SongLab workshop and currently serves as co-chair of the Carnegie Hill concert series in New York, featuring leading interpreters of classical and New Music from around the globe. In his spare time, Aaron enjoys playing the piano, eating, making coffee, drinking coffee, going for brisk walks, being near coffee, and composing brief autobiographical sketches in the third person.

at_length:

Aaron Beaumont has toured the U.S. and Europe as a pianist and songwriter and been invited to share his work in wide-ranging venues from the Sziget Festival in Budapest to the Marie Osmond show to Park City TV to KCRW Santa Monica to the main stage of the West Hollywood Carnaval. L.A. Weekly wrote that Aaron's music brings "a new life to the ancient music-hall/pop piano-man tradition, with clear-headed songs of genuinely witty lyrical oomph and, most of all, a historically informed musical depth – all delivered with style, grace, wit and elan, of course."

Aaron wrote one song, arranged two others, and served as a piano performance coach for the feature Permission (Rebecca Hall, Dan Stevens, Jason Sudeikis, 2017 Tribeca Film Festival), which premieres worldwide February 2018. He also contributed two songs to the forthcoming series Dan is Dead (Drake Bell, Maker Studios) and two songs to the indie feature film Alex & Jaime (2017 Roxbury International Film Festival). Aaron contributed an original co-write and several arrangements to Gil McKinney’s 2017 debut album, How Was I to Know, which reached #1 on the iTunes jazz chart and #8 on the Billboard jazz chart. Other recent TV and film placements include original songs written for Cedar Cove (Andie McDowell) and Where Hope Grows (Billy Zabka, Danica McKellar; Dallas Film Festival, Roadside Attractions). Aaron has composed original scores for films and theatrical productions, including All the Lovely Wayside Things; Tall, Dark, and Handsome; Heart; Until We Have Faces; Shrew; The Fire Room; the Breakfast Show with Adam O; Companion; and Beyond Imagination, winning best score and sound design at the Hollywood Fringe Festival for his work on Fugitive Kind’s production of The Fire Room by Ovation Award-winning playwright Meghan Brown. In 2016, Aaron wrote a commissioned work for the Spark & Echo Arts project, and in 2017 Aaron created a larger scale work as an Artist in Residence. Aaron also works as an in-house arranger, producer, composer, and mix engineer for the Gregory Brothers / Schmoyoho, whose original music has earned them a gold and platinum record and nearly one billion views on YouTube, along with myriad collaborations on other platforms. Recent Gregory Brothers collabs include the Justice League film (ft. Gary Clark Jr.), Weird Al Yankovic, Debbie Harry and Chris Stein of Blondie, Joseph Gordon-Levitt, Bassnectar, Alex Wassabi, LaurDIY, Markiplier, Slow Mo Guys, Todrick Hall, J. Fla, The Resident (Fox Network), and the International Olympic Channel.

In 2015, Aaron participated in the Ultraviolet Music and Arts Festival in Los Angeles as a featured artist and presenter, and performed with his band The Mots Nouveaux for the 2015, 2016, and 2017 Rockwood Music Festival in Frankfurt, Germany.

Aaron wrote the music and lyrics to the original musical, Behind Closed Doors, which sold out every performance at the historic Hayworth Theater, received multiple Broadway World L.A. Award nominations, and played for thousands of festival goers on the main stage of the West Hollywood Carnaval. Behind Closed Doors was selected to participate in the New York International Fringe Festival as a national show, enjoying a mostly oversold run at off-Broadway Theatre 80 in the East Village. Aaron was selected as a finalist as a composer and lyricist for the Fred Ebb Foundation / Roundabout Theatre Company Fred Ebb Award for musical theater songwriters, and received the Hal Gaba Scholarship for Excellence in Lyrics from UCLA/Concord Records.

Aaron is currently developing new musicals with playwrights Meghan Brown, Andrew Crabtree, Peter Berube, and Cassandra Christensen, and a one-woman show with soprano Lorelei Zarifian. Lorelei and Aaron’s first musical triptych, Midtown Antoinette, was featured on NPR-affiliate WFIT in March 2016 and debuted as part of the Florida Tech / Foosaner Museum French Film Festival. Aaron also occasionally helps produce the outrageous bingo raves phenomenon, Rebel Bingo, in New York and Los Angeles, as featured in the L.A. Times, Guardian, and BBC, and recently played a run of five capacity shows in the downtown L.A.’s Globe Theatre as part of 2016 Night on Broadway.

Aaron has collaborated as pianist, musical director, arranger, and/or co-writer with a panoply of music buddies, including Jason Manns, Gil McKinney, the Gregory Brothers, Sara Niemietz, Tim Omundsen, Dave Yaden, Nicholas Zork, Aaron Roche, Nick Bearden, Emma Fitzpatrick, Amanda Wallace, Shane Alexander, Ben Jaffe, Brett Young, Courtney Bassett, Eden Malyn, Luis Selgas, Aly French, Sam Heldt, Karma Jenkins, Emily Iaquinta, Lynette Williams, Meshach Jackson, Roy Mitchell-Cardenas, Kamasi Washington, Chad Doreck, J.T. Spangler, and Katrina Parker. He claimed several distinctions as a young classical pianist, including two-time Wisconsin Academy Musician of the Year, Andrews University Concerto Competition Finalist, and the British Royal Conservatory of Music Award of Highest Distinction for Piano Performance at the Newbold Creative Arts Festival. He currently serves as co-chair of the Carnegie Hill Concert Series in New York, featuring leading interpreters of classical and New Music from around the globe.

In 2015, Aaron founded SongLab, an online songwriting community for emerging songwriters. The inaugural SongLab Series welcomed GRAMMY-winner Dave Yaden as special guest.

In addition to working with other artists, Aaron performs as one-third of the pop trio, The Mots Nouveaux, alongside vocalists Emma Fitzpatrick and Amanda Wallace. The band celebrated their latest album release with a residency at Hotel Café, a six-month residency at the Montage Hotel in Beverly Hills, and residencies at Rockwood Music Hall and Sidewalk Café in New York. They were invited to join the lineup for the Broke L.A. Music Festival in downtown Los Angeles, where Lyynks music hailed their set as the “greatest revelation” of the festival, one that “really thrilled the crowd” of thousands at the Lounge Stage (GroundSounds.com). The Mots Nouveaux recorded a new EP in Spring 2017 with co-producer Peter Barbee / Among Savages, with forthcoming tracks slated for early 2018 release.

In his spare time, Aaron enjoys playing the piano, traveling, eating, writing songs, making coffee, drinking coffee, collecting records, going for brisk walks, being near coffee, and composing exhaustive autobiographical sketches in the third person.

Press

"Maybe, just maybe, a new Elton John might be just what the doctor ordered, someone who can bring a new life to the ancient music-hall/pop piano-man tradition, with clear-headed songs of genuinely witty lyrical oomph and, most of all, a historically informed musical depth--all delivered with style, grace, wit and elan, of course. Your candidate for such a new contender might very well be one Aaron Beaumont." John Payne, LA WEEKLY.

"Aaron is one of those musicians that makes it look so easy." Guilt Free Pleasures

"I'm absolutely blown away by this man's music right now. The man creates piano-based soul-tinged songs that ooze with a revivalism of older composing values while yet staying timeless." The Lemur Blog

"With flurries of Wurlitzer, glockenspiel, and reindeer bells layering Aaron Beaumont's tunes, the singer/songwriter seems to have popped out of a music box. In fact, Beaumont recently relocated from Nashville, bringing with him a folky aesthetic chock full of charm and whimsy." Jane McCarthy, Flavorpill

"Aaron couples the insight that one might expect from someone many decades older with the optimism that is associated with someone early on their path. As a lover of both music and words, I felt alternately engaged and overwhelmed by a desire to drink every lyric and note throughout the show." Bre Goldsmith, L.A. Acoustic

"I wasn't alive in the 20s, but somehow, Aaron Beaumont makes me nostalgic for the decade." Impressionable Youth

"Optimistic, heartfelt and slightly quirky, Beaumont stands out in the sea of singer-songwriters who descend upon dark bars in Manhattan... Aaron appears to have a very bright future ahead of him." New York Cool

"Maybe, as Aaron Beaumont suggests in the title of his recently reissued debut album, nothing is forever  no, not even goodbye, but some things do come awfully close, and on that list, tastefully ragtime-drenched piano playing and the smooth croon of a natural pop vocalist must rank awfully high. That's good news for Beaumont, whose Nothings Forever (Not Even Goodbye) is filled with impeccably crafted, pleasantly retro songs... In lesser hands, Beaumont's extremely retro vibe would be nothing but a flimsy gimmick, but he's clearly a songwriter who understands the difference between the strongly nostalgic and the simply timeless." Jeff Giles, Eat Sleep Drink Music

“[The Mots Nouveaux is] the loveliest retropop duo of the moment.” Elephant Journal

"Brokechella was an evening of pure discovery, with the greatest revelation during a return to the Lounge for Mots Nouveaux. The spirited sextet infused retro-pop numbers with a jazzy vibe, and charismatic frontwoman Emma Fitzpatrick captured hearts with her dance moves and witty banter." -Lyynks Music

"The Mots Nouveaux thrilled the crowd... their sound was part early 1900’s vocal blues/part funk-n-roll. It felt good." -Groundsounds

"I love this band." -inTraffik

“Behind Closed Doors is definitely [a show] you don’t want to miss.” Crazy Town Blog, Top Ten Buzziest Shows at Fringe NYC

“The real star of the show is the music. Sometimes it's so boozy and jazzy it transports you to a smoke filled speakeasy, like the opening song, "The Devil’s Music". Sometimes it’s a jaunty show tune like "Sex Ed". The clever lyrics of "Is That Bad?" are reason enough to see the show. The choreography is marvelously sensual as well.” Stage Buddy

“Its mixture of high-concept world-building with intimate solo and duo numbers makes for a heady cocktail that I wouldn’t be surprised to see arriving on Broadway down the line.  Throughout the show, a maxim whose origin is long since lost to time, space, and even Google kept ringing in my head: the one about every age getting what it deserves. BCD may well be a story our age deserves richly. I do suggest that you see it before it explodes.” New York Theater Now