Friday, late afternoon, Matias and me run as we were almost late for our concerts, after a beer at our place! We grab our press credentials, run to the bar just for a quick beer and we go each other our way. While he goes to Orangerie, I am heading into the most intimate of the rooms: Le Grand Salon de Concert, which is normally the Museum. At the door, the lady doesn’t let me get in with my beer, so I do a bottom’s up and I get in.

As Lubiana says goodbye to us to welcome Hydrogen Sea, I must admit that it was, without a doubt, the biggest revelation for me through #Nuits17.

For those who have never been to this room, there are red curtains all over the room, furnished seats and a second-floor area with seats on both sides. I guess Lubiana was in her second song when I entered. I have to admit that all of the artists that I knew that I was going to see, she was the one that I was less interested to hear – I guess the 30 seconds of each song that I heard didn’t make her justice. In fact, with each song passing, I saw myself more and more enchanted by her talent and her fresh jazz voice. It was a perfect balanced mix of jazz, folk and soul with more African-inspired references when playing the kora or approaching a more electro-modern style with some computer beats.

As the public sang with Lubiana and she gives us goodbye to welcome Hydrogen Sea, I must admit that it was, without a doubt, the biggest revelation for me through #Nuits17 – and that I will for sure go to her next concert in Brussels!

There is not a lot of movement in La Grand Salle de Concert – most people stay glued to their seats for Hydrogen Sea, however, we decided to still go for a beer, debate how the concert in Orangerie was and then I came back, to the same seat, to wait for Hydrogen Sea to begin.

I remember back in 2014, seeing them opening the stage for Samaris in “Big Next Festival” in Gent. IT was so intimate and so small – I guess we were around 10 people there as it was the first concert out of 5 or 6 in that room that day – and there were 2 other stages.

Seeing them now, almost 3 years after, it is indeed a big change. Hydrogen Sea are more polished, more pros, they have a full LP and a confidence on stage that seemed to lack in Birsen in 2014. The set starts with “Gentle Doubler”, with only Birsen on stage – and probably winning best dressed at #LesNuits because she was stunning – and then immediately the public knew that we were in for a great concert at #Nuits17. Sort after, her partner and other part of Hydrogen Sea, PJ Seaux, the duo, accompanied by a drummer in a sort of arena stage, kept on spanning songs from their debut LP: “In Dreams”, released in 2016 – however, the first high point of the night was their perfect rendition of “Wandering Star” for Portished. And then suddently, they were 6!

Three string players join the stage to make it even more aerial and dreamy. Songs kept on coming, including a new single that I honestly couldn’t retain the name – but sounded great – until finishing the set with the two other magic moments of the evening – “Walk Away Now” and “Wear Out”.

The group came out again to perform “The Fall” before definitively say bye and let people leave slowly the room. Overall, the concert was great and, what a great evolution from seeing them less than 3 years ago perform for 10 people at 3PM to this, I am surely expecting to see them playing at an even bigger stage in the next couple of years.

With a last beer at the bar, I say goodbye to this years’ edition of #LesNuits (at least for me). From crying, to having the sensation to be on a dancefloor at 7PM – I can for sure say that it was my favorite edition so far and, I really can’t wait for #LesNuits2018.

In this uncommon sultry climate, I was unusually late for a gig (which I blame my dentist for). A great start to my first ever gig with a press pass, a special feeling for the young concert enthusiast I am, but, no time to celebrate; I had to rush to the Orangerie not to miss any extra second.

Even though I was unpunctual, I easily got to the front as many people were still outside having food and drinks. Right in front of my eyes was the Brussels-based duo in vogue, RIVE. Composed of vocalist, pianist and guitarist Juliette and Kevin, the drummer and synth guru, the pair have received a lot of praise from the Belgian media and especially us at HighClouds as we loved their first EP “Vermillion“. After almost 10 years of musical collaboration and two rock projects in English, Juliette and Kevin took a fresh new start in late 2015 as they felt the time was to write and perform in French which successfully resulted in several prizes during francophone musical contests last year.

I missed the opening song “Narcose”, therefore, I looked around to grasp the general ambience and noticed attentive expressions hanging on to every word that came out of Juliette’s mouth. Later, the duo told me saddened “Oh… too bad, it’s our favourite song to play but come again next time!”, I promised I will… With the second song “Justice”, her silky and intimate voice filled up the room with magic. She instantly put me under a spell and I wasn’t the only one…when suddenly, Kevin’s powerful synths and drums thundered while he juggled between the two instruments in his jerky, almost possessed gesticulation.

“It’s up to your own interpretation” says to us singer from duo Rive during their live at #Nuits17.

The music is delicate and powerful at the same time. The latter sparked by Kevin and the former by Juliette. This duality is something we find in their artwork and in their 3rd group member: a headless statue. After asking them what it represents post-show, it remains quite a mystery but once again, there is duality. The woman’s body could represent sensuality and vulnerability while her chopped off head unchains her from all the clichés surrounding women, an empowering feeling. “It’s up to your own interpretation” says Juliette keeping the myth alive and just like in RIVE’s music, conjuring certain imagery outreaching into totally new perceptions.

Their, ironically, double headed music seeps heavily in emotions: love, fantasy but also absence. The next songs are more aerial as Juliette’s dreamlike and poetic narrative merges swimmingly with Kévin’s luscious and, at times, nonconformist instrumentation. The tracks aren’t crowd-friendly but are still memorable particularly if you listen to the lyrics: I can still hear Juliette’s voice whispering all my problems away by confessing her love and doubts.

And then, “Vogue” kicked in. One can immediately understand why it has more than 130k views and why, by Juliette’s own words, it’s the track that enabled the two best friends to get to where they are today. A few smiling and dancing individuals originated carried by the addicting, reverb loaded guitar melody and Kevin’s upbeat, sharp percussions later reaching a cosmic climax where the duo’s chemistry peaked with regular eye contacts, smiles and passionate playing.

[su_youtube url=”https://www.youtube.com/watch?v=MeyI1X-Pl9s”]

Literally translating as “river bank”, RIVE’s dream pop overflows with rich textures and metaphorical lyrics taking your soul to different latitudes. The delicate closing track “Nuit” highlights the duo’s state of mind asking us to “break the walls”. This is exactly what RIVE are doing at #Nuits17 and new career, breaking the previously avoided French pop, embracing the language’s nuance and beauty with inimitable songwriting and surprising arrangements. The end of their set witnesses the duo allowing themselves to close the performance very intimately behind the same piano, something I had never seen before and am looking forward to see them again soon.

Involuntarily or by choice, tonight’s leitmotiv is the primary colour RED. Both acts have a peculiar relationship with it as the titles of their recent projects alludes to the primary colour. Thomas Azier, one that I’m not afraid to call a genius, titled his sophomore album, “ROUGE”, for its different meanings and contrasts. The colour of passion, sensuality, violence, hate and love has different significances and nuances just like his voice provokes different emotions.

The room is filling up; everything is set to welcome Azier on the opening night of his “ROUGE tour”. On stage, a drum kit, a bass, a guitar and three different keyboards: a clear indicator of Azier’s new direction that contrasts with the digital synths and pads of his previous sets for his electronic first LP “HYLAS” released in 2014. A noticeable change during his concert now that he lives in Paris making both a lifestyle and a musical change. A confident fast paced entrance, a cheeky tongue stick and the show was on. We could instantaneously sense the French “joie de vivre” inhabiting him in his smile and positive energy.

[su_youtube url=”https://www.youtube.com/watch?v=7jUFeqXk9jE”]

On the opening track “Starling”, his intentions are clear: immediate eye contact with the audience, the man claps and dances on the upbeat percussion loop asking his darling to dance since it’s “too late to worry now”. The follow ups are the second album’s singles: “Talk to Me”, “Winners” and the infectious ode to “Berlin”. With those three tracks, Thomas shows what he’s vocally capable of and what his new album is all about: insightful song writing, no vocal effects and a smart, pop sound: chart-friendly but full of creative energy. “Talk to Me”’s subtle drum beat makes everyone move along to his dance moves, like the ones in his music video on the track’s perfect synth melody. His honest and passionate vocals touch and make us question our communication with our loved ones while on “Winners” everyone claps and sings along “trying to be winners” as the song rises crescendo to reach highs.

“CA VA BRUXELLES?” “They told me I didn’t sell a lot of tickets but here you are! That’s what matters to me!” claims Thomas as the crowd cheers louder turned on by his big smile and body language. Naturally, he played a few of his older tracks such as “Hylas”, “Red Eyes” and “Angelene” (which appeared to be the song the crowd could most confidently sing along to): all three are fan’s favourites with epic vocal performances and gripping, but more discrete electronic elements than before except on “Yeux Rouges” (Red Eyes) where a huge wall of electronic sound and synths climaxes with an epileptic light show.

The real gem, however, is “Sandglass” a song about “living in the moment” says Thomas thanking us, once again, to be here with him tonight. Perfectly reflecting the young man’s attitude, this song proves his is not living in the past but lives the present instant. Turning his back to the crowd, he tapped delicately his piano keys using his higher vocal range to move the crowd making quite an impression as the song garnered loud clapping.

At #Nuits17, Azier‘s electronic ingredients work very well but the fans also seem to love the great songwriter and performer he is.

When “Crucify” came on, it was like seeing the younger Thomas Azier revive from its ashes, an intense track, one of the few with electronic effects. his electronic ingredients work very well but the fans also seem to love the great songwriter and performer he is. The polyvalent singer audaciously brought out “Call” a beautiful ballad “he loves to play live” (we did not doubt it a second) in which he howls for someone’s call before finally presenting the band and ending the song by sitting down but standing up as quickly as he got to down. Thomas spices things up by announcing he performs a song for the first time: a cover of “A Forest” by The Cure. The driving bass and frenetic drums all formed around Azier’s flawless singing and showmanship, jumping everywhere with slightly confused fans as most of them probably thought it was his own song. A few years ago, Thomas Azier joined Paris-based band The Shoes at L’Olympia for a cover of “A Forest” as well, so I guessed he continues to play that cover. The band also made an excellent remix of “Angelene” and they collaborated together for a song called “Two Pills” for the soundtrack of “Iris”. Somehow, all of this is related, and we’ll know the answer one day. Smiles reappeared when “the last song” “Gold” came on, the catchiest and dance-friendly song on his latest album (which he performed in its entirety!).

Chest banging, finger pointing at the crowd, holding his mic tight, always interacting with his band members and fans, Thomas Azier didn’t leave a single area of the stage untouched. His devotion to his art shines through and we could see that he was delighted to be back on stage after two years in the studio. The encore track “Babylon” closed the show beautifully, Thomas even got a red rose from a fan which got him to say he will hopefully be back in December because “[He] I love[s] Brussels so much”. We love you too Thomas.

What? 28 degrees in Brussels? And sunny? In May? Is this real life? Even though the first concert was only at 7:30PM, I was in Botanique at 6PM to make sure that I could enjoy a cold fresh beer, in the company of some friends, while waiting for the concert of Tim Darcy to start. Obviously, a lot of people had the same idea as the stairs that give to the marquee were quite filled already at that hour.

Between a beer and a laugh, it was 7:30, therefore, direction to our first act! Tim Darcy is probably more well know as the frontman of Canadian post-punk band Ought, however, for Les Nuits he came to present us his solo effort: “Saturday Night” released earlier this year.

As the weather was great outside, I honestly wasn’t expecting so many people to be inside the marquee by the time the concert started. Like Matias, yesterday, I also went to the concert without having time to really listen or get to know Tim’s music and I was pleasantly surprised. “Saturday Night” is more intimate than his work with Ought but the energy and the attitude are still there. Alone with his guitar – where he apparently did much better than when he performed with a backing band in February in La Rotonde – the room is enchanted by the super talented musician. The concert ended with “Still Waking Up” – his best rendition and performance of the night. Also, his biggest masterpiece, got me thinking as if Morrissey and David Byrne giving birth to a baby. Even with a super warm marquee at #Nuits17, everyone stayed inside until the last note, before leaving for a well-deserved cold drink.

Back to the now almost infernal heat of the Marquee to keep on going with the American Singer-Songwritter Ryley Walker. With his band and his stunning guitar abilities, we were in for a treat. Most of the songs played by him were from his latest effort “Golden Sings That Have Been Sung”. The set, for certain parts of the concert, almost seemed as an improv concert or a jam session. Just a couple of mates having fun on stage. But no – they knew what they were doing as the instrumental of each song is clearly on point.

For #Nuits17, Ryley Walker left the big majority (if not all) the audience pleased with his performance.

High point of the night? The amazing “Primrose Green” from the album with the same name – and my personal favorite out of the two. Even if he had a bum note, here and there, Ryley Walker left the big majority (if not all) the audience pleased with his performance but at the same time, relieved to leave the marquee as the heat was still quite strong.

OH! I forgot to mention that I have the lovely company of Christopher, an addicted to music as much as me and with whom I shared some great concerts – including Angel Olsen, last October. I go as fast as possible to the bar, grab a last big beer and we go running to the marquee as we want to be in front. Even with the heat, 3 or 4 full lines of people stay almost glued to the security bars, while other people sat on floor reading a book.

The lights dim. Her band enters on stage and I can see her behind the scenes. I shiver and hold the arm of Christopher, while he does the same. Among claps and yelling, Angel takes her guitar and we hear the first sentence: “I’ve seen you changing”, from the the beautiful ballad “Heart Shaped Face” of her latest (and of the best albums of 2016) – “My Woman”. From that album, we go to her breakthrough: “Burn Fire For No Witness” and “Hi-Five”. And then, I started to notice something different. Seven months ago, during her performance at Orangerie, she did a great show. But her jokes were: “I was served in a restaurant by a children, I guess that must be normal in here” and smelling her arm pits because she had mussels. Yep. That was all. Now, she is actually having fun! She smiles more, apologized for tuning the guitar because of the heat, “tried” to speak in French, made jokes about America, laughed. She is more in control of her show now and you can see that clearly. Especially, when comparing to when I saw her in 2014 at AB Club.

[su_youtube url=”https://www.youtube.com/watch?v=oL_3Y4zNnqg”]

The show is filled with ups and downs of rhythm. Following “Hi-Five”, we had the room singing along at “Shut up Kiss Me” then we had “Give It Up”, “High & Wild” and the hi-energy vocally – almost angry – “Not Gonna Kill You”. And then… goosebumps, shivers, whatever you want you call it. A beautiful rendition of “Acrobat”, followed by “Sister”, “Those Were The Days” and “Woman”. I have to admit that I don’t remember exactly when but a tear or two shed – but I always cry in concerts, so nothing new. “Windows” was the last song before leaving the stage before returning for an encore. In here, yet again, a tear shed with a superb acoustic rendition of “Unfucktheworld” – that was the high point of the night for me. “Fly, Never Be Mine” followed and even though people in the crowd – me – were screaming for “Intern”, Angel finished the concert with “The Waiting” under a wave of clapping – she is clearly one of the most talented singer-songwriter of our generation, therefore, nothing but deserved.

Feeling super happy, we left the marquee just to meet some friends that were there for different concerts. A last beer, in a packed Botanique, an exchange of reviews, a last hug and it was time to come home. My experience with #Nuits17 continues Friday with Hydrogen Sea. And if the 3 days I have gone are an indication, we are in for another amazing night.

Another sunny day in Brussels? What’s happening?! Ok, now it is turning to a too warm weather to be honest. This time, the concert didn’t take place at the now infamous marquee, but at the already infamous for a long time Orangerie. I didn’t spend much time outside, but I still got some time to eat some delicious samousas. A bit more salt and that would be perfect.

Our night at #Nuits17 started a bit later than usual (8pm) but in such an amazing way. I have to be honest, I had so much work that I didn’t have the time to check the opening act before going to the concert, so I went there with no preconceptions, like a virgin. Brussels-based indie pop artist Clare Louise started singing and immediately my whole body was captured by her universe. The singer/producer declares, laughing, during the concert “This is a song from the 70s.. for those who have been following my career since Woodstock” and indeed her music is full of references from that era. In a way, she gets inspired by peaceful messages, most of them written in French. Putting a lot of poetry into the lyrics, she tries to inspire the listener with a sober yet romantic setting. Her music is full of imagery, where the imagination is fully on demand and you can find your own story in her music. When she sang a song inspired by “all of the insomniacs out there”, I couldn’t help but relate to her as I never sleep, and when a back singer started playing the xylophone, I saw myself on stage as I’m closeted xylophone player myself.

I invited my friend Jeff to the concert of Chantal Acda as we saw her together for the first time in Antwerp almost two years ago. We had the chance to meet her, and she was one of the sweetest artists I have ever met. The first time we saw her, Jeff cried and I was impressed on how emotional he got while listening to her as I almost never cry in concerts (except for Björk). This time, she played most of her last album “Bounce Back” out last April and her happiness on being on stage with her band was contagious. The room was almost packed and you couln’t see anyone bored during the concert as it was hard to not notice her impeccable vocals. Never disappointed by Chantal.

How inspiring is to see women owning their artistry as most of the time, they are not being taken seriously? Thank you, #Nuits17!

Une publication partagée par Highclouds (@highcloudsmag) le 17 Mai 2017 à 6h14 PDT

The last concert was Shannon Wright who really blew me away. I wasn’t very familiar with her work, but she truly made me regret it. In a place between the genius of Janis Joplin, Portishead and Prince, she embraced that stage like no other, and I couldn’t help but tell to Jeff “What the fuck is going on? Am I dead and is this heaven?”. Mastering the piano, guitars, with perfect vocals and a real presence on stage, Shannon left the entire room speechless. Usually, people scream, jump or whatever. This time, we were all mesmerized by her intelligence. How inspiring is to see women owning their artistry as most of the time, they are not being taken seriously? I left the Botanique full of happiness, and the only thing I can say is: thank you.

[su_youtube url=”https://www.youtube.com/watch?v=O3bZnZyJWJM”]

Our journey at #Nuits17 continues tonight with the concert of Angel Olsen.

Once again, the sun was shining in the beautiful gardens of Botanique. Already by 7PM, the stairs that lead to the marquee were filled with people relaxing on the sun, while enjoying a beer or some delicious meals that the food trucks have to offer. On the other hand, because I’m cheap, I took a free cider that Strongbow was offering at the entry and entered the room for the first band.

When Whispering Sons entered on stage, there were already quite a lot of people waiting for the Belgian band fronted by Fenne Kuppens. While checking their website or Facebook page, you can see that they describe themselves as a “Belgian post-punk breathing dark and atmospheric sounds”. With a quite low and distinctive tone, that reminds me for example of Nico, they presented their great EP “Endless Party” and their new singles Performance/Strange Identities.

The band, that won Humo’s Rock Rally 2016, gave a captivating performance from the beginning till end and all we can say is that the future of post-punk in Belgium sure seems in great hands with them.

The concert is over and the marquee is completely empty. Not a single person stays inside as everyone wanted to enjoy the great sunny weather that Brussels was giving us. After one beer, it was time to go to Agar Agar – during this period I got the chance to talk a bit with Fenne from Whispering Sons, but you’ll read about that in a near future.

5 girls are glued to the bars already when the technicians were doing the sound check – I, obviously joined them as Agar Agar is probably one of the freshest French groups of the actuality, and one of my favorites too.

The duo, formed by Clara Cappagli and Armand Bultheel, released their brilliant first single: “Prettiest Virgin” just one year ago and followed by their EP “Cardan” last September. The duo was acclaimed by the critic thanks to their mix of sonorities coming from the 80s between synth-pop and techno. In the instant that the first beat drops in the marquee, it got full – No one wanted to lose a bit of the performance. During the first three songs, it was quite difficult to connect with the band – it is never easy when you are two people behind two keyboards. It was with their cover of Demon, and latest release, “You’re High” that we started to see Clara leave with more attitude and confidence the keyboard she was behind and starting to enjoy herself on stage.

While Armand kept dropping 80s and 90s machine sounds, Claire started to dance to the rhythm of her own beat, rolling on the floor, and just jumping around the stage. However, they were saving the best for last with “Cuidado, Peligro, Eclipse” when the marquee was, like the day before, a dancefloor, with some hard beats dropping while a psychedelic game of lights was going on stage. They ended their set over a thunder of applauses and it was time for some last rays of sun – and a beer refill.

For the second day in row in #Nuits17, the marquee was turned into a dancefloor, this time by the promising duo Agar Agar.

Une publication partagée par Highclouds (@highcloudsmag) le 15 Mai 2017 à 12h26 PDT

Tom Barman is, for sure, one of the most charismatic and talented Belgian artists. Otherwise, let’s review his career: Founder of the experimental-indie-rock band dEUS, who have released seven albums to date. He is also the founder of the Jazz band TaxiWars, directed and wrote a movie called “Any Way The Wind Blows” and is currently preparing his second movie. If this was not already a pretty impressive resume, he is also behind Magnus – the act closing this night of concerts.

His latest project was founded alongisde CJ Bolland in 2004 but it took until 2014 for them to release their second album. The audience in the room was slightly older than the one we witnessed for the #Nuits17 with Hercules and Love Affair yesterday, or even compared to Agar Agar. Several people were using t-shirts of dEUS, and one of them even told me that he never heard Magnus and that he was just there because of Tom Barman.

The minute the 5-element band enter on stage, there is no coming back. With guitars, a drummer and a laptop, the marquee quickly turns again into a dancefloor. And the energy of Tom is undeniable. He is charismatic, he smiles, dances, jump, plays guitar, flirts with the audience. Magnus were exactly what I was expecting – explosive. Jumping between their 2 albums and expressing the love for CJ Bolland – we got two surprises: 1. Their new material is coming out in September but they felt it was too soon to present it live. 2. dEUS drummer Alan Gevaert joined them on stage for the great “Summer’s Here”.

[su_youtube url=”https://www.youtube.com/watch?v=dTiR4zZohl8″]

Slightly past 22:30, we have the final goodbyes. To enjoy the summer night, some people stay for a last beer while others rush to the cloakroom not to wait in line. If the past two days have anything to go by, we are in for one of the best sessions ever of #Nuits17. Next up, other members of the team will attend Shannon Wright‘s concert, but I myself have Angel Olsen tomorrow. #excited

The sunny weather in Brussels predicted the beautiful night that we had. A weather like that doesn’t happen that much for it to be noticed. The entire park invested by the venue was full of people coming here to enjoy music, and as the concert took place in the marquee built in the park specially for the festival, we could enjoy the sun, the food and sitting on the stairs to contemplate the beauty of Botanique. I always have been a fan of the venue and last night wasn’t an exception.

The concert started with the Lille/Paris-based band Rocky that surprised us by their entertaining live and refreshing sound. As the concert started, because of the weather, we were only two in the big room. They screamed “ARE YOU READY”, we screamed “YES” but actually we weren’t ready for the pleasant surprise that we had. Mixing many genres and sounds, the quartet is the perfect example of a cosmopolitan melting-pot. In their Facebook page, they quote many references raging from LCD Soundsystem to Crystal Waters and Talking Heads, showing their versality when it comes to creating sounds for themselves. Their debut album “Soft Machines” was played with strong energy and we clearly had fun during the concert, converting me into a fan.

[su_youtube url=”https://www.youtube.com/watch?v=h8sdUWi6eso”]

After a short break, the concert of multi-instrumentalist Youngr started. We actually missed the beginning of the show as we were enjoying a delicious croque-monsieur outside, and we didn’t expect for the room to become a giant club when we were gone. Hidden behind an enormous quantity of instruments, the artist plays in between drums and electronic sounds, making the entire room travel to Ibiza in two seconds to dance. As we weren’t ready to find ourselves in a club at 8pm, we got back outside to look for beers to put us in the mood. It was rather hard to connect with the artist as we could barely see him, but the crowd did definitely enjoy the show.

Une publication partagée par Highclouds (@highcloudsmag) le 14 Mai 2017 à 11h59 PDT

The night finished with the concert of Hercules & Love Affair who are currently touring to present their soon-to-be released fourth album announced thanks to their single “Controller“. I was first surprised that there were kids in the audience, told my friend “Do their parents know that their last single is about BDSM love?” and we laughed. As the concert evolved, we started noticing that we actually didn’t know any of the songs they were playing. After 5 songs, Andy Butler, the founder of the collective, said, amused “You are such a great crowd! We played already 5 songs that you don’t know and you are still here!”. Currently based in Belgium, they didn’t forget to thank us for being so kind and told us that their sound has entirely been created in our country. You’re welcome, Andy!

We started the #Nuits17 by going to a marquee turn into a club for the evening by Hercules & Love Affair, Youngr and Rocky.

At #Nuits17, when they played their classics such as “My House” and their first hit “Blind”, they put the audience on fire and created a special communion in between fans. We danced like it was a Saturday night, and actually drank a bit, creating a perfect little Monday morning hangover. Their new album sounds in the continuity of their previous albums, with a touch of pop. Their latest release “The Feast of the Broken Heart” unveiled in 2014 was focused on more electronic and cold vibes. We still don’t know much about the LP besides that it will be “a lot about spirituality”, as said by Butler himself to The Fader. We can’t wait!

Our journey at the #Nuits17 continues tonight with the concert of Magnus, Agar Agar and Whispering Sons.