Everyone here at The Riff Report Blog just wants to give a huge shout-out to the absolutely brilliant Leoni Jane Kennedy for taking the time to sit down and chat with us! 🎤🖤
From the music to the passion, the stories, and the pure rock ’n’ roll energy — it was an absolute pleasure getting to know more about the artist behind the noise. Interviews like these are exactly why we love supporting rising talent across the rock scene, and Leoni brought the vibes in full force 🤘⚡
Go show some love, crank the tunes up loud, and keep your eyes peeled because this is clearly only the beginning for Leoni Jane Kennedy 👀🔥
Cheers again for supporting independent music media and taking the time to speak with our chaotic little Welsh rock newsroom, butt! 🍻🎸
🌌 THE ARRIVAL OF SYNTHETIC
1. First up — Synthetic. That title instantly sparks curiosity. What’s the meaning behind it?
The title was surrounds a general theme of feeling numb to the world. I wrote this track when I was a teenager, but never found the chorus until I left home for the first time. It represents the disconnect from myself and those around me with so much information in my head.
2. This is your debut originals album — how emotional does it feel finally announcing it to the world?
It’s an ongoing emotional rollercoaster. So much has happened, so releasing this at last feels like I’m the most vulnerable I ever have and ever will be in my career. It’s a weight off my shoulders whilst also an exciting new beginning. I have so much in the pipeline to give the world.
3. At what point did you realise this collection of songs had become an album rather than just individual tracks?
I recorded these songs originally with John Gallen as a live album, but with the brain and precision I have, I kept going back to re-record things that I thought I hadn’t done good enough. I eventually listened to my gut instinct and wanted to make these tracks a part of a fully produced studio album. They came together as a collection due to the live songs we had been playing as a band around the Guildford / Surrey circuit.
4. Was there a defining moment during recording where you thought, “This is exactly what I wanted this album to be”?
When I received the final album mixes back in 2024 from Eliot Kennedy. I listened to them straight away and cried my eyes out. I still have the footage of me breaking down after realising the vision I had for these songs had been fulfilled by my hard work and efforts with the guidance and ear of other like minded professionals. I had always known what I wanted, I was just being denied it by other people’s insecurities and, during those times, I was convinced that this was a direct reflection of myself. You can pick yourself back up after hardships, but it does chip away at your confidence. Especially when you haven’t dug deep enough into your own head yet to try and understand your patterns and habbits forcing you back into the same internal responses.
🎶 SOUND, PROG & CREATIVE IDENTITY
5. Your music blends progressive rock, emotion, atmosphere, and technicality beautifully — how would you describe your sound in your own words?
I have to credit Steve Balsamo on this one, AKA Jesus Christ Superstar! We had an interview recently where he asked me the same question, and he said I was ‘Blues Prog’ which I think represents all of the above. I have so many influences and prog has been vital in this, it also seems the most accepting of genres and one I would be proud to represent in my career. With my main influences being Status Quo and Rush, this makes total sense.
6. Progressive music can sometimes disappear into pure complexity — how important is emotional connection in your songwriting?
It’s the most important. Feeling any connection can come from musical complexity as well though – I just choose where that impacts me the most in the songwriting. ‘La Villa Strangiato’ by Rush live at Pinkpop was the song that made me fall in love with them. No lyrics, all riffs and time signatures. It felt of a classical nature in that sense which hasn’t been entirely dismissed in my earlier guitar days, looking at Asturias by John Williams and ‘Classical Gas’ for example. Dire Straits have plenty of tracks that have pricked my ears in this regard too.
7. What usually comes first when creating: the guitar work, the melody, or the emotional idea behind the song?
A mix of everything – it entirely depends on the circumstances. The only guarantee in my writing is that I use phonetics and sounds to determine lyrics where they haven’t yet been written. Basically, I mumble a lot until the mumble repeats itself, then I work around that.
8. Is there a track on Synthetic that feels especially personal to you?
Not really, although the strings feel very personal – they tug at my heart for sure.
🎸 GUITARS, INFLUENCES & MUSICAL DNA
9. You’ve become recognised for your guitar playing — when did you first fall in love with the instrument?
I’ve always had one in my hand. We had my ma’s acoustic lying around the house that eventually I wanted to try. She never played much but could hold a few chords down to get through songs when we’d have family gatherings. My uncle is pretty good too. I just know once I picked it up, I never put it down.
10. Which players or artists shaped your style the most growing up?
Status Quo, Rush, Yes, Genesis, Phil Collins, The Police, Blue Oyster Cult
11. Are there any unexpected influences that might surprise people?
Status Quo are probably the most shocking looking on that list, but then I was in pubs playing old rock n roll from age 11 with blokes in their 60’s. We played things like Whiskey in the Jar, Copperhead Road, Elvis tracks – my grandma loves Elvis and I used to have an array of teddies that were rats dresses in Elvis outfits, lined up against my bed that sung jailhouse rock, blue suede shoes etc. My first ‘professional CD’ was covering 2 Elvis songs at a local studio in Blackpool and I wore an entirely white Elvis suit with the wig and glasses for the cover. Cowboy boots n’ all… not a huge fan now but can appreciate the work.
12. What makes a guitar part feel truly meaningful to you rather than just technically impressive?
If it tells a story or a journey that can be interpreted in a personal way, regardless of who it is that’s listening.
🌟 THE FREDDIE MERCURY SCHOLARSHIP & PRESSURE
13. Receiving the Freddie Mercury Scholarship from Brian May and Roger Taylor is incredible — what did that moment mean to you personally?
I was runner up for the BASCA songwriting scholarship, so didn’t have a clue this was even a possibility. The minute I got the call it felt insane knowing Queen had acknowledged what I was doing.
14. Did that recognition give you confidence, or did it also bring pressure and expectation?
Confidence at first, but then it turned out other students were ‘scared’ or not confident enough to approach me because of how big of a deal it was. I found this quite difficult when I was still young and still finding my voice and my way in the industry. I had everything to offer but no idea of what to offer, how to offer it and when. It was quite a confusing time for me.
15. Has your relationship with music changed as your profile has grown?
More than I could’ve imagined. A few years back I was working a 9-5 so after finally taking a chance of myself, I’ve gone through the works of the modern industry and been spat out to find that listening to myself and not everyone else was always the answer. It seems simple, but it was completely unreachable for me until I learned the hard way.
🎤 LIVE PERFORMANCE & CONNECTION
16. Your music feels cinematic and immersive — how do you translate that atmosphere into a live performance?
I have faith in the songs and my ability to connect with people through my music and lyrics, whether that’s on a record or in a live performance. I’ve been on the road with my voice and an acoustic guitar supporting many people the past few years, and this is what’s elevated my presence in the industry. When I go out with my band, we don’t intend on completely re-creating what’s on the album note for note.
17. What’s your favourite feeling during a live show?
The whole thing. It’s the entire reason everything is worth it, to be able to play the songs live and connect with the world. Although if we’re looking at specifics, sometimes there are still audience members that talk during my acoustic sets and although I can ignore it, I can still get pissed off, so I just gradually decrease, then increase the dynamics and the cry in my voice until they shut the fuck up. That sense of control is quite satisfying.
18. Have you had a moment on stage where everything suddenly clicked and you realised, “This is where I belong”?
Every time I perform.
🧠 THE HUMAN SIDE OF CREATIVITY
19. Creating emotional music can be intense — how do you protect your mental space while writing and recording?
For me, it was important I understood where my emotions came from in order to control them. I studied my brain quite literally. Reading a lot and looking into psychology and researching my neurological responses so I could understand them, but intellectualising your feelings isn’t the end goal. It’s the start of being able to create your own boundaries, or at least it was for me. Consistency will be your friend over time. No matter what you’re doing creatively, remember 3x a week is a habit – good or bad. But even among this idea, self control is more than just routine, it’s about acceptance when you don’t quite get to 3x a week, then forgiveness and understanding. You won’t be emotionally stable enough to achieve goals you’re setting yourself if you don’t acknowledge the problems you keep having. Emotions can be acknowledged through music and sometimes for people, this is enough closure to move on. For others, subjects that keep appearing have route causes that need more attention than surface level acknowledgement. I still have to check in with myself now and again and there is always going to be unpredictability.
20. Has making Synthetic changed how you see yourself creatively?
I think it’s given me the push I needed to fully engage with my style of songwriting.
21. What’s been the toughest challenge during this entire process?
Persisting when no one was looking.
🔮 WHAT HAPPENS NEXT?
22. Once Synthetic is finally out in the world, what do you hope listeners take away from it?
The general theme of the album is self-discovery in both music and personality, so I hope others take away what they need for their own personal journeys in whatever that direction may be. I just hope they recognise how important is to persist with your vision even when others don’t see it. Trust your instincts and learn to navigate life through them.
23. Where do you want this next chapter to lead — touring, festivals, international audiences, all of the above?
I’m already booked for tours with Solstice and Walter Trout, where I’m doing both solo acoustic and band performances of this album. However, I want to take this on the road with my band for a whole tour whether that’s as a support or on our own. I’ve been navigating the UK scene for a while now and it would be a dream to keep building this project as I go forward. I’m in the Netherlands in July for a Rush convention playing New World Woman, my acoustic Rush covers album. I want to take this album over to Europe too and perform it live for other countries.
I’m also in the middle of writing a book surrounding the forth-coming future album too.
24. What excites you most about the future right now?
Everything, now that I have a better understanding of what I can do with the help of a growing community of fans and supporters.
⚡ FINAL RIFF REPORT QUESTION
25. If someone listens to Synthetic alone, late at night, headphones on, no distractions… what do you hope they feel when the album ends?
I hope they feel exactly what they need to, in order to gain clarity and confidence within themselves to go forward and do what they have always known is within them.
🏁 RIFF REPORT VERDICT
Leoni Jane Kennedy isn’t just another technically gifted musician entering the prog world.
This feels like something deeper.
More personal.
More ambitious.
More human ✨
And if Synthetic delivers on the promise already surrounding it…
2026 could be the year Leoni Jane Kennedy truly breaks through.
✨ Progressive rock with soul, atmosphere, and serious emotional weight.
Keep this album firmly on your radar, mun 🤘🔥
