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I started out in 1997 with the Belgian blues band Fred and the Healers, allowing me to express myself on many of Belgium’s most famous stages.

In 2001, Europe opened it’s doors to me though my work with Venus. Bands such as EMEL MATHLOUTHI, DAMSO, Girls in Hawaii, Ghinzu, Jamie Lidell, Saule, Great Mountain Fire, Soldout, Montevideo, Sharko added their names to my list of collaborators. 

I’ve been touring for 20 years, so I have worked in Europe’s finest concert halls (Olympia, AB, Zenith, Paradiso,…) and largest festivals (Zsiget, Werchter, Eurockéennes, Dour, Paléo,…). 

Over 2000 shows, in over 25 countries, including China and the U.S.A .


Lighting must project a band’s work beyond their music and mere stage presence. It is the link between the audience and the band, a visual embodiment of music that allows the public to travel to the desired destination. By favoring melodic atmospheres or a singer’s personality, creating images or instead leaving an obscurity of mystery, many choices are to be made at the beginning of any collaborative work with a band. What matters most is finding the right language between what is happening on stage and what we perceive from the room, to understand where the musician wishes to go, and using an external point of view, translate this with into a spectacle readable by all. If the trip we have prepared is put into place at the earliest stages of the performance then we can really transport the audience and the music to new dimensions.

Specifically in my approach, I try above all to meet personalities, share their world, to question and explore their aspirations. I then offer one or more concepts, initially focused on the stage area, by the arrangement of the instruments, furniture and backdrop.

Once this decor is well established and cut into clear angles allowing an understanding of the proposed universe, comes the phase of the light creation itself.

This step adds color, relief and an atmosphere in line with the musical theme. It can call for carefully placed shadows on faces or instruments, or a more abstract atmosphere created through sharp rays of light.

A form of narration punctuates the creative work, through a precise manipulation of visual elements. Not trying to assemble the songs one after the other but to form a unity evolving over the duration of the concert.

The technical aspects of this work are present from the beginning of the process, always running in parallel with it and permitting, through an extensive knowledge of the lighting tools available, to steer a realistic course for the successful completion of the project. The point here is not be to as present as possible but to be precise and pertinent in that presence.

The finalization of the creative process is the placing on paper of all technical and artistic aspects of the project.



- Emel Mathlouthi

- Victoria plus Jean

- sonnfjord

- Valko

- a supernaut

- nicola testa 

- Jamie Lidell  

- Girls in Hawaii     

- Ghinzu   

- Great Mountain Fire   

- Vismets   

- Saule   

- Montevideo   

- An Pierlé    

- Soldout  

- Applause  

- Hallo Kosmo 

- MvsC   

- Sharko  

- Saule et les Pleureurs  

- Suarez  

- Sois belge et tais toi   

- Venus   

- Jaune toujours  

- Joshua  

- Absinthe Minded   

- Ateliers de la chansons  

- Cloé du trefle  

- Alexonor    

- Fred and the Healers  

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