Austin Farwell is one of the most streamed Pianists in the United States drawing from influences from Chopin, Erik Satie, Bach, Yann Tiersen, Yiruma, and Ludovico Einaudi.
Born outside of Los Angeles, he began learning piano at the age of 5 and devoted himself to composing at the age of 20. Austin specializes in promoting his music through short-form content on TikTok, Instagram, and YouTube with the use of trending audio. These audios are the backdrop to millions of pieces of content across all of these platforms with influencers such as Kylie Jenner, Christina Aguilera, and Addison Rae regularly using his piano songs as well as brands such as the Olympic Games, World Cup, Discovery Channel, and the Science Channel.
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YOU’VE CARVED OUT A SPACE FOR YOURSELF WITH EMOTIONALLY RICH, CINEMATIC PIANO COMPOSITIONS. BUT HOW DID YOUR JOURNEY AS A COMPOSER AND ARTIST BEGIN?
My journey began in college, where I studied applied mathematics but spent my free time writing piano music. I was experimenting—learning from classical and modern composers to find my own voice. Around that time, TikTok started gaining momentum, and it became clear that music was becoming an integral part of short-form content. There was suddenly a huge demand for fresh, emotional soundtracks, but not enough supply. I saw an opportunity.
For six months, I composed multiple piano hooks daily, testing them on TikTok and other platforms. Once a hook gained traction, I’d develop it into a full track and direct traffic to Spotify. This iterative, data-driven approach—rooted in my background in engineering—allowed me to test ideas at scale and only release music that already had momentum. As a result, Spotify’s algorithm began favoring my profile for its high engagement. When I reached 1M monthly listeners, I knew I could transition into music full-time.
WHAT DOES YOUR CREATIVE PROCESS TYPICALLY LOOK LIKE WHEN COMPOSING A NEW PIECE?
I begin by choosing a key and chord progression that fits the emotional narrative I want to tell. Each key has its own emotional palette, and the chord progression becomes the framework for rhythm and melody. I build rhythmic patterns—similar to how a drummer would layer beats—and then weave melodies through that framework using notes from the chosen scale. For example, in Eb Major, I might blend harmonies from Ab Major or C Minor to add color. I often create multiple sections, each with variations, to give the piece a sense of journey and evolution.
WHAT ARE THE FIRST FEW THINGS YOU DO AFTER RELEASING A NEW PIECE—CREATIVELY, EMOTIONALLY, OR LOGISTICALLY?
Once a piece is finished, I focus on the visual component of the music —starting with a memorable, searchable title that reflects the song’s emotion. The title serves both as branding and a discovery tool, especially for social media users looking for music that fits a mood or moment. I pair it with impactful cover art that visually complements the track.
From there, the release becomes a strategic rollout: uploading to distributors, pitching to editorial playlists, and coordinating social media promotion. I also register the track with platforms like BMI, Songtrust, and sync licensing agencies to ensure every revenue stream is captured. Each song is a creative asset, but also a business one.
LOOKING BACK AT YOUR JOURNEY SO FAR—WAS THERE A SPECIFIC PROJECT, RELEASE, OR MOMENT THAT FELT LIKE A REAL TURNING POINT FOR YOU?
Yes—one major moment was in 2021 when my track “New Home” became one of the top trending sounds on TikTok. It was used millions of times across platforms and eventually earned over 200M streams on Spotify. That experience proved to me that a single composition could change the course of my life.
More recently, the turning point has been artistic. I’ve evolved from solo piano to collaborating with orchestras and writing more complex, cinematic works. Moving into sync licensing for TV and film has expanded both my creative range and professional opportunities. That shift has been especially significant in the last six months.
NOT EVERYONE REALIZES THAT BEHIND EVERY STREAM OR SYNC, THERE’S A WHOLE ECOSYSTEM MAKING SURE ROYALTIES GET PAID. WHAT LED YOU TO START WORKING WITH SONGTRUST, AND HOW HAS THAT CHANGED YOUR APPROACH TO MANAGING YOUR MUSIC?
About six months into writing music seriously, I started learning about royalties—mechanical, publishing, sync—and realized I needed to manage them proactively. A small piano label I worked with introduced me to the importance of registration and tracking analytics.
Platforms like Songtrust helped me see where my music was performing best—by country, platform, or audience type. With that data, I could double down on what was working, much like you would in any business. For example, traffic from TikTok behaves very differently than traffic from YouTube, and knowing that helps me tailor my content and strategy accordingly.
WHAT ADVICE WOULD YOU GIVE TO OTHER INSTRUMENTAL ARTISTS LOOKING TO MAKE A SUSTAINABLE CAREER FROM THEIR MUSIC?
Understand marketing first. You can write incredible music, but if no one hears it, it won’t go anywhere. Treat social media like a science: study the algorithms, track engagement metrics like watch time and shares, and learn what types of sounds people gravitate toward.
Look at trending audio and ask why it works. Use high-quality plugins and think strategically. The biggest shift for me came when I stopped thinking like an artist alone and started thinking like an entrepreneur. A logical, even mathematical approach to marketing can be just as powerful as the music itself.
WHAT’S NEXT FOR YOU? ARE THERE ANY NEW DIRECTIONS, IDEAS, OR RELEASES YOU’RE PARTICULARLY EXCITED ABOUT RIGHT NOW?
I’m currently working on an album of soft felt piano compositions—ideal for studying or reading—which reflects a core part of why people save my music. At the same time, I’m expanding into cinematic and orchestral work through collaborations with composers and string quartets in Berlin and Hamburg.
This dual approach allows me to nurture both sides of my audience: those seeking calm, emotional soundtracks and those looking for more expansive, cinematic experiences. I’m also placing more music into sync licensing channels, aiming for use in TV and film. It’s an exciting new chapter creatively and professionally.
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You can purchase his sheet music here.
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