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© Ludo Vandeau 2013

1."Interest in French chansons is growing thanks to Stromae " Gazet van Antwerpen, Fri 13 / 12 / 2013

'Winterhanden' for warmth and conviviality in Travellers’ café, Mechelen

Singer-guitarist Ludo Vandeau and his fellow musicians guarantee winter warmth and a good atmosphere with their ‘Winterhanden’ concert in the ViaVia Joker Travellers’ café in Mechelen on Saturday. The music will alternate with seasonal stories told by Radio 1 reporter Jan Vanlangendonck.

Ludo Vandeau describes his music as French pop. "French is the language which makes my heart beat the fastest. Not that I had a bilingual upbringing; it’s just that my mother was very familiar with the French culture, so a lot of French music was played in our house when I was young. I don't speak the language every single day but I no longer have to think about it when I do. By the way, my choice of language has nothing to do with any sort of political preference. I sing in French because I mostly can't and won't do anything else. Having said that, there will be some Dutch and Spanish songs in our performance on Saturday as well. "

The artist recently brought out his latest single ‘Enfant’ and is also working hard on two new albums. "The first will feature our versions of some unknown covers from well-known French chansonniers. The other album focuses on my work and the single will provide a taste of that.

Starting in January, Ludo Vandeau and his musicians will again be giving regular house and school concerts all over Flanders and in Brussels. "Young people grow up today almost exclusively with Anglo-Saxon pop and no longer know anything about French chansons. Stromae and others are gradually helping to change all that. I didn't realise it at first, but you could regard Stromae as a modern chansonnier with his own particular sound. Our sound is different again – it’s my version of French chansons – and that's what I and my excellent musicians will be putting on the new CD: a personal sort of French pop. “For those who immediately think of Edith Piaf at the mention of French chansons, this CD will again demonstrate that French songs are much richer and cover a very wide area. I'm glad to say!”

Winterhanden, Saturday 14 December at 20:00,
ViaVia Joker Travellers’ café, Zandpoortvest 50, Mechelen (Kristof Van Rompaey)

2.Ludo Vandeau Group creates wonderful air of melancholy in Ghent at De Vieze Gasten

Het Nieuwsblad. Saturday 16 February 2013, 20:30 (Author: Neelke Lelubre)

GHENT - On Friday evening at De Vieze Gasten, Ludo Vandeau presented songs from his brand-new CD “Entre chien et loup”. The audience in the attractive and, at the same time, jam-packed auditorium was looking forward to some new, moving French chansons of the sort they have learned to expect from Vandeau. And their expectations were more than fulfilled.

Vandeau came onto the stage, picked up his guitar and started off the evening with a splendid song. Totally dedicated to the music and in delicious literary French, he performed “Femme”, a song that leaves a lasting impression. It’s about 'a loving and kind woman in my life', according to Vandeau. With the comment: 'Wow, it's warm in here. Good evening, ' Vandeau had the audience laughing straightaway. Then he began on the second song “Ma mer du nord” in which Herlinde Ghekiere could triumph with her crystal-clear voice. The third song, an 'ode to Ghent and all other terrific cities', gave other members of the band the chance to demonstrate their musical talents.

Man of Words

The title “Entre chien et loup” refers to the brief period between light and dark, the dog symbolising day and the wolf, night. 'My numbers are almost always based on events in my life. Things that have happened to me', Vandeau said. And those personal details come to the fore in his whole repertoire. With splendid lyrics like: “Jardin de fleurs, jardin de pleurs” and “J’ai cherché la vérité mais pas trouvé” Vandeau shows us he is definitely a man of words. With his lovely song Chloë, an ode to his mother (whose name is actually Georgette), he made a big impression on everyone. Although his texts all have a certain tristesse merveilleuse, the music remains cheerful, hopeful and rather ‘southern'. You won't have any difficulty believing you're walking through the streets of the French town of Cahors or somewhere else in the South of France.


There were some lightweight songs as well: one about chocolate, one about dreamers and backpackers called “Buffet de la gare”, plus a song about snow. Vandeau’s short introduction to “La Neige” was surprising: 'Sometimes, in the height of summer, I long for snow. Snow can conceal the ugliness of life. Every now and again I would like to bury myself in snow so I’ll no longer be able to hear myself.'


The band also performed some covers in a completely new version. They included numbers by the French singer-songwriter Guy Béart and the appealing Elsa van Léo Ferré. 'When I was young we always listened to French at home, and some Spanish music as well. That's why I sang in Spanish for a while, but I stopped doing that when I realised that chansons suited me better’, Vandeau told the audience.

3.What the press say about CD Marguerite

The atmosphere that Ludo Vandeau and his colleagues conjure up on this CD is difficult to summarise in just a few words. Wistfulness is certainly one of them, but loss and longing also belong to this mood, and a certain sadness too. Yet the singer manages to convey a feeling of the joy of life, as well as the sound of being en route. Here and there, Ludo Vandeau’s voice sounds as if it could be that of a cousin of the great Flemish chansonnier, but in fact he can be more than satisfied with his own particular brand of sound.

The combination of beautiful texts, voice and instruments (accordion, piano, cello, guitar ...) results every time in wonderful numbers, with a diversity to be proud of. “En route” is perhaps the best way to sum up this CD: en route from one stage of life to the next, en route from the station cafeteria to the pub, en route from nowhere to somewhere.

Whatever, wherever or whoever you are on your way to, this is a pleasant CD that provides your journey with a musical setting and an extra meaning.

4.De Standaard : Ludo Vandeau (Bodixel) takes a big step forwards

Ghent-based Bodixel presents third album in the Handelsbeurs.

We got to know him when he sang with Ambrozijn and again for a short while with Laïs, but Ludo Vandeau is now going it alone much more often. On Wednesday evening in Ghent, he sang ,,Nous ajustons incessament le monde'' in a voice that unavoidably made us think of – and I’m not exaggerating – Jacques Brel.

Bodixel has just brought out its third album and in doing so is taking a serious step forwards. The folk label Wild Boar produced the CD, and photographer Michiel Hendryckx was responsible for the photographs on the digipak, but also for designing the beautiful artwork. The manager would like the group to go even further, preferably with a trip to France. Musically, the group has grown enormously and Ludo Vandeau has obviously made a few significant choices.

Bodixel presented the CD Marguérite at the venue, the Handelsbeurs. That turned out to be not such a simple task. To interpret those new songs, the core group of five was reinforced with the accordionist Gwen Cresens, three wind players and three strings. You saw the perspiration running over Ludo Vandeau’s substantial forehead.

This native of Ghent sang with fervour. ,,Vue de lune'' floated in simplicity above a guitar and cello, but when the pianist started hitting a few funky notes, the other musicians joined in for ,,Petite Chanson'': I saw a quiver in your soul/ is that your love, your grief, or just reflections of the rain? ''. Vandeau’s texts are full of the colours and fragrances of the season, and are very close to his soul.

,,Some people say that Marguérite is a concept album'', he said. ,,Not all the songs are from the same period but they do have a particular theme in common. They come from myself, inspired by my relationships with the people I know. And Gwen Cresens has made a musical composition from this, working from his classical music background.'' He made it sound more romantic on stage. ,,An ode to someone wandering through time, totally lost. He tries to find comfort in coffee and a cigarette, but sadly comes to realise that nothing lasts forever‘'. This was how he announced the title track of the new disc. He may be diffident about performing his public role as front man, but as a singer and writer, Ludo Vandeau radiates pure and intense conviction. Singing is almost a mission for him.

Spanish and French

Vandeau grew up with chansons and has always had a soft spot for French and Spanish. Over the last four years the group has evolved amazingly. A couple of tours in far-flung places – Chile and Cuba – have added experience. It is difficult to put a label on this group, although the poetic use of French unavoidably makes us think of the world of chansons. However, Vandeau does not disguise the fact that he is extremely happy with his new rhythm section that allow him to perform his songs with vigour. His splendid dark voice carries that broader group sound with verve, although he can also sing a simple song with great tenderness.

The concert in the Handelsbeurs was not a career highpoint due to nerves, a less- than-perfect sound mix in the auditorium, and song material that was still too fresh to have the right flow. But there was obviously a great deal of enjoyment there on stage and definitely the aim to make authentic music. When you see Vandeau singing so intensely on stage, you believe every single word.

From our editor Peter Vantyghem

5.Ludo Vandeau & Bodixel : CD Marguerite


What at first sight appeared to be a difficult CD, turned out to be a pearl after a few times of listening ....... you just need to persevere. Or is it the group? (CD)

After ‘Todo Cambia’ and ‘Métropole’, Ludo Vandeau presents ‘Marguérite’ to you with pride. Apart from Ludo’s heavenly voice, I wasn't impressed at first. Certainly not after Todo Cambia. However, after listening to the disc a few times, I had to revise my opinion. Perhaps I was initially too overpowered by Ludo’s voice, and as a result heard neither the music nor the lyrics. Fortunately I didn't give up easily, so this CD had a fair chance. My findings are described below.

The things I initially didn't notice in the music had an even greater impact on me later. It isn't just the voice of Ludo that makes Bodixel what it is. Often it’s the small details that count. In ‘Buffet’, an incredibly beautiful musette, this is particularly obvious. You can hear every single instrument right down to the slightest percussion sound. Existing next to each other yet independent of each other, the sounds blend in an amazing way. Perhaps that's the reason I only heard Ludo to begin with. Music and song melt together in such wonderful way that the individual parts add up to more than the whole.

In each track, the build-up happens in the same way. You clearly feel each song climbing to a stirring climax. There is a calm beginning for both the voice and music but they simultaneously arrive at the climax. That is the strength of this disc. ‘La même vieille Suzie’ is one of my favourites. This number begins with an unbelievably fine flute solo. And it is a very cheerful song about the simplicity of life. Nothing changes when you wake. In the instrumental interlude I recognised 'Fly me to the moon', one of the best jazz standards ever made. The splendid polyphony created by Ludo, Bruno De Castro and Elly Aerden introduced even more colour into this already colourful totality.

There was more of a jazzy and blues mood in ‘Autoroute’. It was the double bass that particularly managed to create that mood. This was also one of the best numbers as far as I was concerned. In the instrumental solo, the violin and piano jazz cheerfully together. It is a great example of what you can do with folk. Bodixel manages effortlessly to break open the folk sound and to integrate it with all sorts of different music styles. From chanson right through to musette, jazz and blues. The title song, Marguérite, is another incredibly beautiful ballad – very simple, with mainly piano.

By choosing the simple approach Bodixel is able to do justice to rather difficult texts. I found a lovely piece of text in ‘Vue de lune’: ‘Oh, je veux ’t amener et tout revivre en tout. Au jardin les plages le vent alizé et les oiseaux. Je ne suis que l‘esclave de l’amour, je m’incline pour que rien ne se perde dans le sel de ce monde. Pour que je ne disparaisse dans la multitude. Pour que je n’aie vécu en vain...’

An initially difficult to understand disc turned out later to be a little pearl, which I needed to listen to with very critical ears in order to be able to appreciate it. But once the appreciation had grown, I could understand ‘Marguérite’ completely and savour its treasures. This is a real must for people who enjoy French music with a dash of mystery.


6.Interview with Ludo Vandeau – New Folk Sounds

A voice amongst a thousand. And a name that has been resounding for quite a long time already. Now that he has, since a few years, his own group and sings his own work, we liked to hear what Ludo Vandeau himself could tell us.

Ludo Vandeau, a voice amongst a thousand

The first time I heard Ludo Vandeau sing, he was singing a traditional French ballad. I don’t remember for sure, but I think it was L’écolier assassin, the famous classic song from the well-known group Malicorne with Gabriel Yacoub. It was 1997, on the eve of the Dranouter festival where Ambrozijn was one of the new Flemish performing groups. Vandeau’s voice gave me goose flesh. What a wonderful way of singing such a French traditional, I thought to myself. And what a voice. One amongst a thousand! Seven years later, Yacoub writes in the booklet of his double-CD Je vois venir ... ‘In my opinion, the voice of Vandeau is one of the greatest voices in traditional music on our continent’. Vandeau was indeed one of the friends guest singers at the live concert, recorded in Quimper in Bretagne.
To learn more about this man and his musical world, we had an interview with Ludo Vandeau in his hometown Ghent.

From mother’s singing to Malicorne and Gabriel Yacoub

Vandeau talks quite extensively about his love for songs and singing. It is an essential part of his life. It all started at home, with a mother that sang quite a lot and listened to French chanson most of the time. Bécaud, Aznavour, Béart, Adamo, Nana Mouskouri, Georges Moustaki, Les Compagnons de la Chanson and Trenet were definitely her favourites, he remembers. The record collection mainly included classical music, jazz, French chanson and cabaret. Father played the piano – especially the black keys. And organ, and he was a master in improvising. ‘It was only as a teenager that I discovered English songs.’ French was a second language, constantly present. And, no doubt, this is where his preference for French chanson comes from, even though he has sung quite a lot in Dutch as well.

After his graduation, Vandeau started to work in the creative sector. He cooperated in the music programming for Theater Barrikade in the popular neighborhood Muide in Ghent. At that time, music sparkled in this city (and it still does) and in the pub ‘Les Visiteurs du Soir’ he sang in a stage play L’écolier assassin that he knew from Malicorne. He met Wouter Vandenabeele en Tom Theuns who had come to listen. Later, Ludo went to listen to Ambrozijn, at that time a seven-member group with some young female voices. This was the moment Wouter suggested Ludo, at that time singing in Olla Vogala, the other group from Vandenabeele, to join Ambrozijn. Thus was born the well-known Ambrozijn-formation in which Ludo took the vocal part from 1997 to 2004.
And so it came that Gabriel Yacoub worked together with Ambrozijn for their first and extremely successful CD. ‘Since then, I have stayed in contact with Yacoub. He calls me ‘his favourite singer’ and whenever he can he invites me to sing at his concerts and on his CDs (see I have always liked the way Yacoub sings. As a producer, he is a voice-wizard. It is he, among others’, says Vandeau, ‘who personally stimulated me to continue in French. I have always had a heart for French chanson.’

From Ambrozijn to Bodixel

Long before Ambrozijn, Ludo started singing with his brother Bruno. Ivo, another brother, had previously written songs in Dutch which were sung occasionally but

have never been recorded. The idea of recording these songs still remains. Already in their youth they liked singing together, with brothers and sisters. The foundation for professional singing was laid in the choir. But singing was also a strong family tradition that taught the brothers the art of improvising. Once in a blue moon, Ludo sang the support act of Kommil Foo. Among others, Raf of Kommil Foo stimulated him to continue singing in French and Spanish.

Vandeau: ‘You can consider this as precursors of what we do with Bodixel. The name refers to a South-American goddess, Ixchel, and with the ‘bo’ in front, it simply sounds good. It is as simple as that. Just a game of sounds. The keyword in what we do is ‘chanson’. When you sing, the audience have to hear that you believe in what you are doing. The ‘passion’ is more important than technique or show. We really like polyphonic singing. This is also the reason why I gladly participated in Laïs’ ‘a la capella’ project. It was real fun to sing as a man with three female voices. But I wanted to stay myself.’

In Bodixel, Vandeau reveals himself more and more as a singer-songwriter. Next to some own songs the demo-CD Todo Cambia contains particularly traditional songs and work from a.o. Victor Jara and Violeta Parra, but on the following CDs Vandeau wanted this to change. The two first CDs were a kind of trials. He wanted to shape his own songs.

Marguérite, the third CD presented itself under ‘Ludo Vandeau and Bodixel’ and only contains French songs, all written by Ludo Vandeau. There is one exception: Cucurucucu known from Caetano Veloso. And so, a new direction was indicated: French chanson or French pop, own work, other arrangements, no folk.

In 2004 Bodixel made a voyage to Chili and in 2005 they visited Cuba. In both countries, they gave concerts, which made them undoubtedly familiar with Spanish chanson.
In Cuba, Vandeau mainly discovered the songs of Silvio Rodriguez. An extraordinary singer, he tells us, in whose songs the ‘tristesse’ sounds so beautiful. The man deserves wider fame.

Talking to Vandeau is fascinating. Especially because the man talks calmly but convincingly about what he is doing. Music is and remains his passion. And he is most grateful to his employer (Vandeau is a secondary school teacher) for getting all the understanding and support to explore his passion.

Listening to Vandeau is even more fascinating. Whoever wants to listen to all recordings of this man, will have to put more than fifteen CDs on the turntable. And whoever listens to the first Ambrozijn-CD and the last Bodixel-CD will get a nice view of the singer-songwriter Ludo Vandeau.

Dries Delreu

7.The press about the second CD ‘Métropole’

"If history teaches us anything, it is that attempting to pin down what 'folkmusic' means, is more likely to kill off than assist continuity. Bodixel's Métropole mixes a strange brew of francophone and Spanish ingredients. Bodixel is fronted by Ludo Vandeau, the Belgian group Ambrozijn's former vocalist. That is a sure-fire indication of quality. Actually what they deliver exceeds all expectations. On 'El Arado' they add jazzy notes. On 'On m'a dit' the voice of chanson. Unlike so many musical melanges nowadays, no musical flavouring sounds gratuitous. Everything present just sounds dead right." ****

fRoots Magazine


“This group around Ludo Vandeau (ex-Ambrozijn) explores a southern version of chanson, alternately performed in Spanish and in French. Their music occasionally and surprisingly changes colour, in Les vagues et le Vent and Valse d’été sometimes a bit of prog rock slumbers. The last song is based on a poem by Paul Verlaine (this committed group has a special interest in poetry which is proven in their live-program around Pablo Neruda). The absolute highlight is El Arado, a heartfelt Victor Jara cover sung in three voices. The own songs are alternately strong and intimate. Bodixel’s merger is honest and balanced, sometimes a little nice but to the point.” ***

Peter van Dijck in Focus Knack


“For the Flemish singer Ludo Vandeau Bodixel has the highest priority. He even left Ambrozijn for it. In Ambrozijn the voice of Vandeau mainly sounds rich, whereas in Bodixel we learn to know him from his breezy side. Although Ludo Vandeau definitely is the centre of Bodixel, he appears more relaxed in this group than in Ambrozijn. It seems as if he got home. Not a strange thought if you know that he often used to sing at home with his brother Bruno de Castro and that this same Bruno now plays the piano at Bodixel and sings the second voice. The southern chanson is clearly a family affair, as the brothers have a mother who has her roots in Wallonia and have a grandmother with Spanish roots.

The first - less exciting – Bodixel-CD Todo Cambia has a more Latin-American signature than Métropole. Now, nine out of the twelve songs are French, three are Spanish. The music varies from melancholic to passionate.
Bodixel has so much talent it would be a shame not to use it in the arrangements. On the whole, the music has an intimate character. But string-virtuoso Siegfried van Schuylenbergh suddenly launches out very tastefully with a rocking electric guitar in Les vagues et le vent. And he has more surprises in store when for example he plays the banjo in Paroles d’Amour or the mandolin in On m’a dit. By the way, Vandeau himself is pretty good at playing the guitar. And with Lode Vercampt Bodixel disposes of a very gifted cellist.

In addition to this, Bodixel uses first-rate guest musicians. Saxophonist Marc de Maeseneer has an important role as can be heard in the nice Victor Jara song El Arado. Anne Niepoldt’s diatonic accordion (Deux Accords Diront) sounds wonderful in the beautiful title song Métropole. Guest percussionist Matthias Standaert plays in half of the songs, to my taste once in a blue moon a little too obligatory (Canto de la madre and El Mundo). But this really is the only footnote to this album that

never has a dull moment. At times you can hear a harmonica or Bruno de Castro swaping his piano for a Hammond organ.

It is no secret: Bodixel sympathizes with the anti-globalization movement, Third World movements and North-South Organizations. Chili plays an important role in the lives of the musicians. They even made a tour there. But in the texts, you won’t be harassed with moralizing slogans. Next to nine own compositions and texts, Ludo Vandeau makes a statement with El Arado from the Chilean Victor Jara. On Métropole you can also hear the song Serenata from Silvio Rodriguez, one of the most popular singer-songwriters of Cuba. The opening song Valse d’éte in which Bodixel immediately shows its musical versatility, is composed with a poem of Paul Verlaine.

Folkforum. The Netherlands


“Bodixel believes that its music flourishes best in intimate surroundings, and that animated teamwork is most important. Here again we have (five) acoustic musicians, but the color is different. The center is made up by Ludo Vandeau and the quite Latin pianist Bruno De Castro. Bodixel uses a rhythm section in six songs. Most of the time Vandeau gets vocal support by Elly Aerden and De Castro. And they sing in French and in Spanish.

Métropole is a step forward after the rather dull debut. Recording is better, the group plays more mature, the arrangements sound varied. Here too, the music searches for space: these are chansons with a worldmusic-jacket. Opener Valse d’été is the perfect business card: with the text of poet Paul Verlaine we hear a swinging fusion of French folk, Latin jazz and a strong rhythm section that moves from a quick waltz into an almost punky rhythm. Dynamism and richness of colors are the most important assets.

As with Ambrozijn, the pleasure of playing and craftsmanship go hand in hand here. Nine compositions are made by Ludo Vandeau, the other are from Victor Jara and from Silvio Rodriguez, in whose Serenata Lode Vercampt plays an important role on cello before Ludo Vandeau takes over. The singer sounds more breezy, more mobile than in Ambrozijn, and surely just as warm. Now that Bodixel is no longer his ‘second group’, this can be the start of a beautiful story. Métropole is in any case a compelling story.” ***
Peter Van Tyghem in De Standaard


Bodixel is set up around three voices with Siegfried Van Schuylenbergh and Lode Vercampt playing the strings and the piano together with Ludo Vandeau and Bruno De Castro. Some good musicians reinforced Bodixel for Métropole, so that the music sounds richer and more varied in its colors.

Ludo Vandeau, who is responsible for most of the texts and melodies, senses the combination of text and music very well. This results in his texts being perfectly supported by the melody so that text and music form a whole and become a song that immediately attracts the attention and invites to listen. Take for instance the opening song Valse d’été in which the guitar intro and the interlude drag the listener.

The three voices at Bodixel complement each other so that the well-balanced music supports the voices perfectly. Due to its musical approach and the compositions,

Métropole becomes a very varied CD. It carries the listener to the right atmosphere thus giving him the ability to enter the content of the song.

Next to creating beautiful sounds, Bodixel is a committed group. Several songs on Métropole establish a link with this involvement. Just listen to El Arado from the Chilean poet Victor Jara.

Métropole is a CD to cherish. With this CD, Ludo Vandeau and his companions prove that protest or a complaint shouldn’t be needlessly blatant. Intimate music which has character surely reaches its goal. Listening and enjoying is the message! Harry De Bock op

8.The press about Ludo Vandeau and Bodixel in Tilburg

This afternoon we enjoyed the new season Folkcafé kickoff in Paradox in Tilburg. On the stage was Bodixel, the group around Ludo Vandeau. They gave us a wonderful Sunday afternoon, one wished it would never end.

Vandeau’s voice is synonym for quality, but the singer is also surrounded by an excellent group of musicians. We heard his brother Bruno de Castro sing and play the piano, Elly Aerden as second vocalist, Siegfried van Schuylenbergh played different strings (guitar, banjo, mandoline, ...) and Lode Vercampt enjoyed himself on the cello, which even served as bass. The Mexican guest musician Luiz Márquez took care of percussion and sax.

Bodixel played a mix of Spanish and French songs, some songs from the new CD Marguérite, including the title song and Deux Frères. As the group has two hearts, one for France and one for South-America, they sing in two languages. Victor Jara, for instance, is a Chilean poet/singer who was a victim of dictatorship. His Vientos Del Pueblo was transformed into a poignant Bodixel ballad. Even more enthusiasm could be heard in a song about the ‘desaparecidos’, a rather intense song, softened by a somewhat cheerful, ska-like support.

It was a dynamic, scintillating performance, for a fairly full room. And Bodixel was not to leave without as many as two encores, amongst which a wonderful a capella version of the Dylan classic The Times They are A-Changing, by De Castro, Aerden and Vandeau. They sang that song in Cuba too, on a nice moonlit night, on top of the roof of a hotel. And suddenly, the national TV appeared, recording for the Day of the Revolution. For a moment, Paradox was that hotel in Cuba...

9.Bodixel on the Fidder Folkfestival

“(...) In Zwolle, many met, for the first time, the Belgian chanson group Bodixel. Although their fame preceded them, these five musicians, together with a saxophonist and percussionist, offered a pleasant surprise. Impressing was the way they made a statement by starting with an a capella song without any microphones and before they even climbed the stage.

With Elly Aerden and the brothers Ludo Vandeau and Bruno De Castro, this group possesses some topvocalists. The arrangements breathe craftsmanship. The group avoids the pitfall of a sweet-voiced interpretation when singing warm and sensitive French and Spanish chanson. There is for example the song Canto de la madre which Ludo Vandeau gives the right dynamics. Most of the time the chansons were tastefully and acoustically accompanied by guitars, cello, mandoline, sax, percussion and piano. Even more beautiful was the subtle rawness with which Siegfried Van Schuylenbergh played his electric guitar in the new song Yarriba.”

Henk en Paul op

“(...) At a festival with at least ten performances, you can of course always try to see as much as possible. But it is more satisfying to just stand and sit where you like it. And then it is almost impossible not to sit and listen to the concert by Ludo Vandeau until the very last minute. In one hour, the Belgian band enthusiastically presents a kind of mini-festival by bringing different styles together, by using polyphonic singing that gives you goose flesh, in French and in Spanish. It is almost moving to see how Ludo Vandeau leads his band with full energy, where in other bands he used to be the silent force. (...)”

Dick Lanning in De Stentor

“(...) Probably the most interesting music band was to be seen in the Novon Manegehall. Bodixel is the new group around the singer (and now guitarist too) Ludo Vandeau. Its music has rich gradations in sound with instruments like cello, sax, keyboards, guitar, dobro and especially with the singing in three different voices. The compositions are innovative and make use of many changes in tempo or structure within one song. The mixture of folk, chanson, latin and jazz appeals to the imagination, as well as the passionate singing of Ludo Vandeau who, in terms of emotions, almost resembles Brel. (...)”

Marius Roeting in New Folk Sounds

10.About Ludo Vandeau

... The puritan folklover prefers Ambrozijn. Some years ago, this group was one of the most innovative in the world of Flemish folk, but seems to have lost some of this innovativeness with the departure of their singer Ludo Vandeau ; it makes the music sound more traditional. At present, the singing is, logically, left behind most of the time. But it will be fun, anyway, Ambrozijn definitely is often mentioned as best live folkband in Europe. ...

(report Folkwoods 2004)

... As a counterweight to all genial sentimentality, there is the neo-medieval troubadour Ludo Vandeau, a kind of Brel’s ‘neat cousin’, who sings about his love feelings without any scruples: “Ik hou van u, met lijf en hart.” (I love you, with body and soul) Very beautiful. ...

© Het Parool

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