VOLUME is a new live series in Brussels, curated by Odessa and Volta!

Designed as a recurring platform, the series showcases forward-thinking international and local artists across alternative and hybrid scenes.

For its first edition, VOL #1 features:

Patche [CA]
BRUANT [BE]

Hosted at Volta, a key hub for Brussels’ music community, with a newly reworked outdoor space.

Live shows, local support, and a format built as a full experience rather than just a concert.

Volta – Brussels
May 14
Limited capacity – grab your tickets!

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Multi-instrumentalist Brice Ninck unveils the first tracks of his solo project in 2026. Drawing on French pop influences and a strong electronic background, his songwriting weaves a subtle dialogue between acoustic instruments and synthetic textures. The result is a soundscape that is both melancholic and luminous, carried by finely crafted lyrics – by turns sharp-edged and sensitive.
On stage, the project expands into a trio, revealing a more organic and direct dimension: a taut, hard-hitting rock energy that gives the songs their full scope.

Ana Lua Caiano tops the list of the greatest revelations in contemporary Portuguese music. The artist delivers an electronic-folk infused with traditional Portuguese music, creating a soundscape where echoes of the past converse with synthesizers, drum machines, and field recordings. As a true one-woman-band, she uses microphone, keyboard, loop station, bass drum, and other instruments to layer vocals, percussion, and melodies, crafting unique and immersive performances.

Ana Lua Caiano has been touring the world with her debut album Vou Ficar Neste Quadrado, released by the German label Glitterbeat and hailed by major national and international media as one of the “Best Albums” of 2024. The tour supporting her first full-length album featured over 100 shows, across Portugal and abroad, with performances at major festivals in Portugal (Primavera Sound, Bons Sons, MEO Kalorama, Tremor, Festival Músicas do Mundo de Sines) as well as international festivals (Eurosonic, OOAM Festival, Babel Med, Les Suds à Arles, Roskilde Fest, Mar de Músicas, Reeperbahn, BAM Festival, Tromsø World Fest, Oslo World, Festival La Línea, among others).

Ana Lua Caiano was nominated for the Music Moves Europe Awards and has performed on KEXP and COLORSXSTUDIO. She is currently preparing to release her second album in 2026, along with a special tour to present it.

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Drummer, composer, and sonic explorer, Anne Paceo has established herself as a major figure on the European music scene. Always in search of new textures and collaborations, she creates music that is both intimate and expansive. Her artistic sensibility goes beyond music: she draws inspiration from literature, cinema, and the sounds of nature, shaping a universe that is both poetic and immersive.

Her new album, Atlantis, was born from a transformative deep-sea diving experience in Portugal and the myth of the island swallowed by Poseidon. In the cold, murky waters, Anne discovered the “oceanic feeling,” a sense of weightlessness and plenitude where time seems to dissolve. This experience of letting go and contemplation runs through the entire album, which features 13 immersive tracks.

Around her, a collective of musicians and singers – Christophe Panzani, Zacharie Ksyk, Gauthier Toux, Oxy, Gildaa, Cynthia Abraham, Sandra Nkaké, Billie Bird, Laura Cahen, and Piers Faccini – contribute to creating rich soundscapes, punctuated by the sounds of the sea and nature.

Recorded at Studio Pigalle in Paris, Atlantis combines the freedom of improvisation with meticulous sound design, giving each note and texture a precise role in the listening experience.

More than just an album, Atlantis is an invitation to slow down, to be carried by music and emotions, where water becomes a symbol of renewal, freedom, and connection with others. A contemplative and necessary journey in a world that needs it.

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Magi Merlin [pronounced Mahd-j-eye] calls her sound ‘Broken R&B’, but really, it’s whatever she feels like breaking down and rebuilding in the studio. Indie Pop, ’90s house, RnB to Hip-hop and Jazz, a collage where the glue often is a masterful use of harmonies and a clever juxtaposition of lyrical lightness and depth.

After her 2022 EP Gone Girl, the Montreal-based artist gained praise from outlets including Bandcamp Daily, FADER, The Line of Best Fit, and Nylon, which led to touring with Noga Erez and a LATAM date with Omar Apollo. Ever since, Merlin has kept busy, working on new music, releasing singles and a smaller surprise project: A Weird Little Dog, which dropped as she began a US tour supporting saxophonist Nubya Garcia. She then reworked IDLES’ “POP POP POP”, flipped it into a club banger which she performed live for Glamcult TV. She’s made continuous festival appearances at Osheaga, Festival d’Été de Québec (opening for Ty Dolla $ign), Treefort, Reeperbahn, Montréal Jazz Festival while simultaneously making her acting debut in Mile End Kicks (with Barbie Ferreira, Devon Bostick and Juliette Gariepy).

Magi is now about to embark on a European tour with Yaya Bey as she continues to unveil her work as a creative powerhouse, one layer at the time, every move pointing toward a larger body of work soon to be released in the world.

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The problem child of jazz who refuses to play by jazz’s rules, daoud imagines a music driven by a sense of inadequacy – one that disrupts conventions without seeking approval, resonating equally with curious newcomers and seasoned purists.

His work is charged with a persistent tension: between playfulness and gravity, chaos and tenderness, irony and sincerity. With ok, his upcoming album to be released by ACT in 2025, he delivers a personal manifesto shaped by collapse and repetition – but also by the perseverance required to begin again.

Around the music, the artist crafts a raw visual universe, marked as much by provocation as by youthful abandon, a return to childhood not for comfort, but to unearth contradictions. Fragility, impermanence, satire – his aesthetic embraces the flaw rather than concealing it.

On stage, daoud and his band bend the rules with a mix of restrained lyricism and explosive force. Since the release of GOOD BOY in 2024, praised by critics, they’ve played a string of sold-out shows and standout performances, from Ronnie Scott’s in London to the Montreux Jazz Festival, with a stop at Marciac along the way. At the same time, daoud composes and produces for others, without ever letting go of a personal approach that grows ever freer and more uncompromising.

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Obsimo has this rare ability to immerse us in a universe that is both dreamlike and vibrant. His music seems to dissolve time, carrying us into dancing, driving spirals with endless echoes. A master of his guitar and surrounded by synthesizers and controllers, he unleashes pure, minimalist notes – sonic uppercuts that make crowds vibrate.

From Bordeaux to the international stage, Obsimo, whose real name is Andrei, has made his artistic mark. He has shared the stage with artists such as Rone, Thylacine, Molécule, Danger, and French 79, and his performances always bring a breath of fresh air to electronic music. Dark and resonant, his style draws on influences from Moderat to Rone and Weval, shaping a unique world where minimalism, cavernous psychedelia, and raw emotion blend effortlessly.

Obsimo excels at navigating between shadow and light. His music can be intimate and delicate, then erupt into powerful beats, surprising and captivating at every turn. It moves you as much as it makes you dance.

In 2025, he released Life Balance, an album that fully reflects his evolving artistic vision. The record explores contrasts – calm and intensity, darkness and light – and flows seamlessly between introspective moments and bursts of energy. With lush synth textures, hypnotic rhythms, and intricately crafted guitar lines, Obsimo offers a truly immersive and electrifying sonic journey. With Life Balance, he continues to push the boundaries of electronic music, creating tracks that linger long after the last note fades.

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After releasing their first EP in October 2023, BASIC PARTNER unveiled their debut album NEW DECADE in April 2025, on À Tant Rêver Du Roi and Daydream Music. This first LP explores an era of anxiety and renewal, blending cold romanticism, contemporary urgency, and an energy that defies any label. Forged in Nantes, amid friendships, garage jams at Collectif Terrier, and a vibrant local scene, the band pushes electronics to flirt with post-punk with the same ease as adding a pinch of salt to an already perfectly seasoned dish.

With their new single FADELESS, BASIC PARTNER opens a chapter that is more pop and more incandescent, while never renouncing the lucid melancholy that runs through their compositions. Their lyrics, metaphorical and incisive, resonate like anthems of revolt and solidarity, delivering political energy without sacrificing poetry.

Since 2022, the band has performed over 80 concerts, asserting a powerful stage presence. They have played at Liberté in Rennes, the Zénith in Nantes, and internationally with tours in China, Spain, Portugal, and England. In April 2025, they celebrated the release of NEW DECADE with a sold-out show at Point Éphémère in Paris, before performing at La Machine du Moulin Rouge as part of MaMA.

Following a standout performance at Transmusicales 2024, and a live session recorded for KEXP, BASIC PARTNER continues their trajectory with a strong visual identity and a captivating live show, making them one of the most singular and promising projects on today’s independent scene.
A band forging its own path, with a style uniquely their own: melancholic, furious, and unapologetically alive.

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To fully appreciate KAU’s music, you’ll have to be willing to surrender in order to rise, to forget preconceived formats and stylistic chapels in order to simply reconnect with the primal love of music, the one that makes an inexplicable link between body, brain and heart.

Born in Brussels, KAU brings together a German keyboardist (Jan Janzen), an Italian bassist (Matteo Genovese) and a Norwegian drummer (André Breidlid), all determined to escape the shackles of the past to create pure, personal music. Trained at the conservatory, while working on rock aesthetics with their previous band, the three instrumentalists came together at Covid with the idea of creating a free, travelling tape, linking their influences and reviving the creativity and audacity of the format so dear to hip hop. Let’s not be too hasty and pigeonhole KAU in the catch-all category of new school jazz. In fact, the trio’s racy, hypnotic syncretism of synthetic music, heady melodies, electronic groove and witty beatmaking is a success.

Unknown Waveforms is aptly named, as it embodies a plunge into the unknown, favoring vibe over the sometimes restrictive format of the pop or jazz album. Atmospheres that hark back to free music, where tonal breaks and sonic discoveries lead to unexpected dancing. Recorded at the Woluwe Park freehouse in Brussels, while snow was falling outside the studio, Unknown Waveforms is a sound film concerned with the links between human and machine, the contrast between a luminous future and the fear of darkness. In the image of its entirely acoustic outro, KAU holds on to its humanity, its spontaneity, embracing its imperfections and touching without thinking on the ecstasy of every musician: that of a creativity that is never restrained, that speaks to as many people as possible, without denying its artistic demands.

After The Cycle Repeats, their debut album released in 2023, and concerts all over the place (including an appearance on the Dour mainstage), KAU is back with Unknown Waveforms, and presents itself as a new centerpiece of Brussels Sound, as well as a hopeful sign of a new music scene on the cusp of hip hop, synth jazz and club music.

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