American percussionist Cameron Leach is a soloist and chamber musician recognized for his expressive virtuosity, musical athleticism, and daring interpretations. Leach is the winner of both the Percussive Arts Society International Solo Artist Competition and Yamaha Young Performing Artist Competition, and was awarded the prestigious Performer’s Certificate from the Eastman School of Music. He is a member of the Northern California-based percussion quartet Orphic Percussion, and one half of the Leach | Peters Percussion Duo.
Leach’s recent highlights include the premiere of Dave Maric’s percussion concerto Spiel, guest artist engagements at 20 universities across the United States, residencies at both the MalletLab Summer Intensive and Space City New Music Festival, and recital appearances in Beijing, Portland, Orlando, Houston, Fresno, and South Bend, to name a few.
Upcoming engagements include concerto debuts with the Grammy-nominated Dallas Winds, the Longmont Symphony Orchestra, and the Euclid Symphony Orchestra; a solo residency at Denison University’s TUTTI Festival; ensemble residencies at Southeastern Oklahoma State University and the Eastman Community Music School; and recital appearances in Nuremberg, San Francisco, Columbus, Cleveland, and Rochester.
Along with his active touring schedule, Leach regularly performs with the Columbus Symphony Orchestra, ProMusica Chamber Orchestra, and the Chautauqua Symphony Orchestra. Leach proudly endorses Black Swamp Percussion, Beetle Percussion, Sabian Cymbals, and Malletech.
"Cameron Leach is a major talent! His performance
of my Percussion Concerto was outstanding...
full of power and grace!"
—Jennifer Higdon
Pulitzer Prize-winning composer
Two-time Grammy Award winner
As I mentioned in my update on March 2nd, I recently served as artist-in-residence at Denison University’s TUTTI Festival, alongside an incredible cast of musicians from all across the country. Little did I know, this would be my final gig before the COVID-19 pandemic shut the world down, so this performance ended up being even more special than I thought.
Towards the end of April, I had the opportunity to put together a virtual concert for the Culture in the Time of Corona Series, presented by the Johnstone Fund for New Music and Streetlight Guild, both local organizations here in Columbus, Ohio. Jack and Zoe Johnstone, the founders of the Johnstone Fund, have been my two biggest supporters of creative projects over the last three years.
Today marks the release of a new video collaboration with Mark Reynolds, National Sales Director/School Music Division from SABIAN Cymbals. We were able to first sit down for an interview portion, followed by some performances in my basement studio, and finally closing out with some demos and discussion of SABIAN’s special FX cymbals.
Schedule currently unavailable because of cancellations relating to the COVID-19 outbreak.
Please check back in the future for a revised schedule.
“Cameron Leach represents the best of the next generation’s superstar performers. Captivating, engaging, and virtuosic—Leach is a musical force!”
—Dr. Todd Meehan
Founder of Liquidrum
Director of Percussion Studies, Baylor University
The current landscape of concert bookings is tedious and uncertain, particularly because most arts organizations are in fight-or-flight mode. Money is scarce, crowds are limited, regulations are strict.. and while there might be a yearning from audiences to return to the concert hall, things have fundamentally shifted. As someone whose career had just begun to hit a stride, COVID essentially halted progress. No, I’m not pitying myself, but it’s clear that the first people that presenters will have back on stage are those who are guaranteed to sell tickets and generate revenue. And for now, that still means the old guard—the standard repertoire, established performers, and an overall conservative approach. Those with burgeoning careers, in most cases, are going to have to take a backseat.
A few closing thoughts: generating income for commissions like this is hard work, especially when a majority of the money raised does not come from foundations, grants, or private donors. I believe that composers are wildly underpaid and taken advantage of (and of course, performers are too), and while I am not guiltless, I am doing my very best to course correct by raising the highest possible fees.
Attending PASIC is important for so many reasons, whether it’s learning from clinics, watching inspiring performances, or networking with colleagues. But, because it is the only organization of its kind for percussionists, it is an incredibly easy target for keyboard warriors. To that end, I find there to be a significant number of people criticizing PAS behind the scenes and intentionally boycotting PASIC, because things aren’t lining up with their own (often selfish/stylistically biased) notions of what the organization should be focusing on or doing for its members.
When I first started using social media to document my journey from graduate school to professional soloist, I wrestled with how exactly I would represent myself online. I constantly went back and forth about whether I would show what was really happening, or whether I would doctor it up a bit in order to appear more “professional.” So I experimented with both:
Because of the uncertainty that is the pandemic-stricken performing arts world, I have been largely silent about upcoming projects, dates, and bookings, simply because everything is so up in the air. But, now that some things are beginning to come into focus (though not nearly as many as I’d like!), I thought I would share some upcoming engagements and what’s been going on behind the scenes.