Kealan Kenny is a highly experienced musician, songwriter, producer, and multi-instrumentalist with an extensive list of credits to his name. As a producer and session player, he has collaborated with hundreds of artists, contributing to recordings that have collectively amassed over 15 million streams. His work includes producing and recording for renowned artists such as Youth (Killing Joke, Paul McCartney, The Verve, Pink Floyd), Pa Sheehy (former Walking on Cars), Niall McCabe, TOUCAN, Allie Sherlock, and many more.

(Live)

As a touring musician, Kealan has performed on some of the world’s most prestigious stages, including the Royal Albert Hall, Queen Elizabeth Hall, and the O2 Arena, sharing his craft with audiences across the globe. He has also supported major acts such as Chic, Kaiser Chiefs, Average White Band, James Blunt, Dadi Freyer, and many more.

(Studio)

As a sought-after session guitarist and pedal steel player, Kealan now records from his own studio, which features a selection of high-end gear: SSL preamps, Focal Trio11 BE monitors, Lewitt 1040 microphone, Coles 4038 ribbon mic, Ear Trumpet Labs mics and a selection of top-tier outboard gear. His collection of high-end instruments (Lowden, Maton, Fender), amps, and pedals allows him to create freely and creatively, delivering recordings to the highest possible standard, making him a sought-after collaborator for both established and emerging artists.

(Education)

His formal education in music—a BA in Popular Music and a First-Class Honours MA in Performance from the Cork School of Music—combined with his expertise in producing and mixing, enables him to craft emotionally compelling recordings with precision and care. His workflow encourages creativity while maintaining a high standard of technical execution.

“My approach to music—whether in a recording, production, or performance setting—has always remained the same: simplicity, space, and taste are crucial. Music, to me, is an expression of personality, much like a conversation, and the ability to listen is fundamental. Whenever I play on a session or at a gig, I try to zoom out and hear what the song truly needs. In that sense, I believe being a good player is being a good producer—it’s about understanding the overall picture rather than engaging in an ego-fueled battle of sounds.”

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