We had a chat with Gianfranco Pescetti about his new single ‘Heidi’, a touching new tribute to a late friend of the artist
A warm and synthy new release that explores themes like loss, appreciation and the gratitude that we have for the people who influence and shape our lives, Gianfranco Pescetti‘s latest single ‘Heidi’ is the lead single from his forthcoming third album, this side of the door, and a tribute to a friend and collaborator of the artist that feels moving and full of heart.
The track itself is littered full of little moments and touches that celebrate Heidi Vincent who it is named after, including Gianfranco recording the bass part on a 1977 Fender Precision Bass that she gave to him years ago. It is a track that has some really resonating moments as well as a tonne of meaning and emotion that is poured into every detail and every facet of it, and we figured that it would be great to have a chat with Gianfranco and find out a bit more about the story behind it and the experiences and memories that shaped the new release.
Hey! We love your new single ‘Heidi’, what more can you tell us about it?
Thank you!’ Heidi’ is about a close friend and former bandmate who was very important to me, both personally and artistically. She was one of those rare people who could do almost anything she put her mind to. She was a cellist, a painter, and an architect.
She really believed that all forms of art are connected, and that the important thing is to pursue what makes you happy, regardless of external approval. She was also instrumental in encouraging me to develop as a songwriter and to believe in my own abilities.
We eventually lost touch after she moved to New York. Years later, I was visiting the city and decided to look her up online. Instead, I found her memorial. It was brutal.
It took me five years to finally write the song, but when I did, the experience was incredibly cathartic and healing. It gave me a way to reconnect with her memory and acknowledge how much of her influence has stayed with me.
What was the process like putting it together?
The song actually began on the bass Heidi gave me, a 1977 Fender Precision. Once I was happy with the chord progression, the rest of the song came together relatively quickly.
I started writing the words in a fairly freewheeling way, without worrying too much about structure. I knew I didn’t want the song to be too literal. I wanted it to feel more like a painting, particularly one of Heidi’s paintings, where there was often a certain darkness alongside the beauty. I was after an atmosphere with a touch of magical realism and a darker undercurrent. I then gradually stripped away anything that felt unnecessary until I had just what I needed.
Musically, I wanted something a little more raw and more organic than some of my previous work, but still incorporating the synthesizers I can’t do without. I love using electronic sounds to create atmospheric textures that would be difficult to achieve with conventional instruments alone.
What were your biggest influences when creating it?
When I’m in the process of writing, I tend not to listen to anyone else’s music. I feel that if I did, it might somehow interfere with what I’m trying to create. I try to isolate myself and draw from a private, instinctive place, almost like finding a thread and see where it takes me.
I’m sure there are influences working unconsciously. Now that I have some distance from the writing and production process, I can hear hints of Motown in the song, and maybe even some ’60s British rock. None of that was intentional, but I’ve always loved both. Perhaps that’s why my music has sometimes been described as retro. I take it as a compliment.
What else should we expect from your upcoming new album this side of the door?
I think this is probably my most personal album so far. I knew I wanted to write about things I’d actually experienced, people who had been part of my life, relationships, memories, and the ways we change over time.
Musically, there’s quite a bit of variety across the 14 tracks. Some songs are more intimate and stripped back, while others are more layered , electronic and more uptempo. I’ve always enjoyed moving between different sounds and styles, and I didn’t feel the need to make everything fit into one particular category.
I also had the opportunity to work with some amazing musicians, including Ziv Chalev, whose guitar work is amazing, pianist Giuliano Poles, and saxophonist Hugo Lee. They each brought something special to the recordings, and I think their contributions took the album to a level I couldn’t have achieved on my own.
What else do you have planned for the near future?
Following “Heidi,” I’m planning to release three more singles from this side of the door, each accompanied by its own music video. I’ve really enjoyed exploring the visual side of my music, and the video for “Heidi” was a particularly rewarding experience. We shot it on an iPhone 16 Pro and sent the footage to videographer Michael Hegarty in Sydney for editing. Michael had previously shot another video of mine, so it was great to work together again. I’d like to continue developing that side of things with each new release.
I’m also beginning to work on bringing the album to the stage in 2027. Touring with a full band is financially out of the question for me at this point, so I’m exploring other ways of presenting the music live. I’m currently talking to a music director about how best to approach it.
I’m particularly interested in smaller, more intimate spaces, such as art galleries, independent bookstores, and churches, rather than traditional rock clubs. I’d like to create something atmospheric that feels right for the music and allows for a personal connection with the audience. I’m still figuring out exactly what that will look like, but I’m excited about the possibilities.
