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Bouw mee aan de toekomst van Choux de Bruxelles Artist Collective
Word jij onze nieuwe zakelijk coördinator?
Hier is is onze vacature voor een deeltijds contract (40 à 50%) van onbepaalde duur
Klik op het pdf-icoontje - reageren kan tot 19/8/26 - sollicitatiegesprekken op 24/8/26.
We hopen onze nieuwe collega zo snel mogelijk te verwelkomen!
"Mit Trompete, Akkordeon und Kon- trabass erweitern 3'AIN ihr Schaf- fen auf jetzt die 3. CD. „Unland" lebt wie die Vorgänger von ent- spanntem Zusammenspiel mit wenigen Tönen in langen Komposi- tionen. Sehr harmonisch und musi- kalisch keinem Kontinent zuzuordnen."
"With trumpet, accordion and double bass, 3'AIN expand their musical horizons on what is now their third CD. Like its predecessors, "Unland" thrives on relaxed ensemble playing, using few notes in long compositions. It is highly harmonious and, musically speaking, cannot be pinned down to any particular continent."
Thank you Ohrensmauch for this warm review on the new album Unland by 3'Ain.
► Read the review by clicking on the picture on the right. (In German)
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks become postcards. Not because everything is perfect. Because every stop leaves behind one image you never forget.
Ghent deserves a chapter of its own. Between 1997 and 2017, we returned to Gentse Feesten again and again. This week alone holds performances across many different editions, from Spiegeltenten to Sint-Jacobs, Polé Polé and beyond.
2000 Koksijde. Press photos on the beach before the evening concert. Sand instead of a backstage. The North Sea as a dressing room.
2002 France. Village squares. Terraces. Long dinners after the show. Music travelling through places where everyone seemed to know everyone.
2006 Ghent. Bluenote Records Festival. Jena. A club with graffiti-covered walls and a courtyard full of people waiting for the night to begin. Different countries. The same conversations before the first note.
2008 Calgary. A breakfast television studio before most people had finished their coffee. Festival stages. Radio sessions. Signing albums. Meeting the people behind the applause. One festival becoming a whole week of stories.
2009 Francofolies. The concert ended. The audience wasn’t ready to leave. So the music continued acoustically, right in the middle of the crowd. Sometimes the best encore isn’t planned.
2011 Porto. Casa da Música. One of those buildings that makes you stop before you even walk inside.
2016 Veszprém. Street Music Festival. Crowds singing back. Music spilling out into the streets instead of staying on the stage.
2017 Gentse Feesten. Another summer evening where Brussels grooves met a Ghent crowd that knew exactly what to do.
2024–2025 Back to Veszprém. Back to Leuven.
New songs. New faces in the band. The same joy of arriving somewhere with instruments and leaving with memories. Different cities. Different audiences. Different summers. Still finding the people who turn a concert into a celebration.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next stage.
Sometimes the best reviews don’t come from journalists. They come from people who were there.
A professional from the Belgian music scene told us: “Jullie kregen Kasterlee aan het dansen en dat is niet evident! Het was KEIGOE zoals ze dat in de Kempen zeggen.” The organiser simply said: “Het was eclectisch, gelaagd en mega-groovy.”
We’ll happily take both. Thank you, Wisselfestival, for the warm welcome, and thank you to everyone who danced with them until well after midnight. You turned a concert into a shared moment.
These photos were taken by our apprentice roady, Louise Provoost, who is about to begin her studies as a lighting engineer. We wish her all the best for the adventure ahead. May this be just the beginning.
"...Die Soli sind virtuos, dabei songdienlich, bewahren aber die Spannung...Bassgroove getragene "Staketsel" mag als Hörtipp dienen. Eine berührende World- Jazz-CD, die hervorragend zwischen Kon-
templation und Energetik pendelt, klasse!..."
"...The solos are virtuosic yet serve the songs well, while maintaining the tension...A moving world-jazz CD that masterfully oscillates between
contemplation and energy—great!..."
Thank you Good Times Magazin for your heartwarming review on the new Album Unland.
► Read the full review in the link on the right of the screen. (In German)
"...sorgt für duftige Aromeni die aparte klangfarbliche Mischung, nicht weniger aber der improvisatorische Assoziationsreichtum, mit dem das Trio flagrante melodische Anleihen aus Martinis Herkunftsheimat verinnerlicht."
‘...brings a rich array of flavours to the distinctive blend of timbres, not least through the wealth of improvisational associations with which the trio internalises striking melodic influences from Martini’s homeland.’
Thank you Wolfgang Gratzer and Jazz Podium for the warm review on the new Album Unland.
► Read the full review by clicking on the link on the right of the screen (in German)
Some nights don’t end when the last note fades.
Thank you, Anderlecht, for filling the square, for listening with open hearts, and above all… for dancing from the first notes to the last
That’s where these songs truly belong: in moving feet, smiling faces, and souls willing to travel.
If you were there, thank you for making it unforgettable. We hope we’ll meet again. The dance isn’t over yet.
Until then, the journey continues with our albums: Antikrisis, SuperDiverCity and Taisa. Play them loud. Dance wherever you are.
Photos by Kris Migerode
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks smell like summer. Dust on festival roads. Accordion cases in the shade. A dog sleeping beside the musicians. A square that is empty in the afternoon and overflowing by night.
2000–2002 Belgian park festivals. Village kiosks. Open-air stages by the sea. A band learning that summer audiences arrive from every direction.
2006 France. Toulouse. Ichis. Saint-Vallier. Improvised stages. Ping-pong between soundchecks. A little girl dancing in front of the stage while a whole accordion marching band joins the concert. That tour felt less like a schedule and more like a travelling village.
2007 Hoorn. Châlons-en-Champagne. The calm before the crowd. Then the blur that happens when brass, rhythm and people start moving together.
2008 Canada. Vancouver Island. Fort MacLeod. Waterfalls. Workshops with musicians from elsewhere. Night concerts under huge skies. The road became a landscape lesson.
2016 Gentse Feesten. Rehearsals behind closed curtains. Guest musicians from DROM. Mec Yek voices joining the stage. And a Sint-Jacobs crowd that seemed to breathe with the band.
2025 Genk. Afro-Latino. New songs from Vertigo. A catwalk instead of a club floor. The same accordion energy carrying three decades of history into another summer night.
Different festivals. Different countries. Different generations in the crowd. Still arriving with instruments. Still leaving with stories.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next room.
17 July Jaune Toujours opening Trefpunt Festival at the Gentse Feesten, with special 30y birthday bash guests Mec Yek,Yamen Martini & De Ledebirds, through the lens of Dieter Boone ànd the VRT 1 TV News!
“Two and two and twelve times would I like to kiss my lover.” Duj Duj has been making people sing along for years. Still works.
Live in Leuven. From the album SuperDiverCity.