The Trans-Siberian Orchestra (TSO), known for blending rock, classical, and expansive theatrical storytelling, has not released a new full-length studio album since 2015’s Letters From The Labyrinth. In a new interview with Lazer 103.3 radio station, Al Pitrelli, the band’s musical director and guitarist, addressed the question of future new material, admitting that the answer is complicated by the 2017 death of the band’s visionary founder, Paul O’Neill.
Pitrelli acknowledged the desire from the fanbase, stating the simple response would be to confirm new music, but noted the profound void left by O’Neill, who served as the producer, composer, and writer who conceived the entire TSO concept.
“Listen, when we lost Paul, not only did I lose my brother and my best friend, his wife lost her husband, his daughter lost her father. We lost the producer, the guy who created this whole thing, the writer, the visionary,” Pitrelli explained.
While the creative well is not entirely dry, Pitrelli emphasized that the respect for O’Neill‘s role as the ultimate decision-maker is what currently prevents the completion of any new projects.
“Yeah, there’s plenty of unfinished material that exists,” Al confirmed. “But I don’t know. I want [Paul] to sit in that chair to make those final decisions, when to hit the ‘stop’ button. So, out of respect for him, I’m just gonna say I don’t know. I think you and so many other people, myself included, would love to have some new material out. I don’t know.”
The immediate challenge following O’Neill‘s passing was simply ensuring the continuation of the ambitious annual winter tour, which the guitarist referred to as an ongoing emotional hurdle.
“When [Paul] passed away, it was, like, ‘Oh my God. How are we going to put a tour out?’ I don’t think that that punch in the stomach ever really goes away, that hole in your heart. So I haven’t given too much thought to newer material. We’ll get to it. But I appreciate you bringing that up,” Pitrelli added.
TSO has achieved multi-platinum success not only with its famous Christmas trilogy—Christmas Eve & Other Stories, The Christmas Attic, and The Lost Christmas Eve—but also with non-holiday rock operas such as Beethoven’s Last Night and Night Castle.
