Aidreann was one of my former folk music projects, which I started back in 2011. We were active in the balfolk scene in Belgium, the Netherlands, French Flanders, and Switzerland.

Fleó is a hanterdro. The hanterdro is a traditional Breton dance in which the dancers form a long line and move 2 steps to their left, followed by one to their right. The instrumental music for Fléo was composed by Anneleen Brabants (who plays the viola), while the vocals and lyrics were composed by me. The language I used is self-invented, but it definitely holds a hidden message. Who can find it? ;-) You'll find the lyrics below. Enjoy! 
Fleó sírené nié ru-oydó Niflé liwuó oydé nasthágó Uo hátáne ewó teábé Pagó eháté ídó niáfé Óro ífígó nikéo-oló Uo áyeró éata héwó

Fléo

Aidreann was one of my former folk music projects, which I started back in 2011. We were active in the balfolk scene in Belgium, the Netherlands, French Flanders, and Switzerland.

The Tovercirkel is a well-loved balfolk dance, a variation of the Cercle Circassien, traditionally danced in France and popular at folk bals in Belgium and the Netherlands. The dance is performed in a large circle of couples and follows a simple yet dynamic structure.

The Dutch name "Tovercirkel" translates to "Magic Circle," reflecting the almost hypnotic and playful nature of the dance. As the music builds, dancers become part of an ever-changing, enchanting movement—like a spell cast on the dance floor!

Cercle pour Jonathan

Aidreann was one of my former folk music projects, which I started back in 2011. We were active in the balfolk scene in Belgium, the Netherlands, French Flanders, and Switzerland.

Latin Lover is a scottish—a traditional couple dance popular in the European balfolk scene. Despite its name, it does not originate from Scotland but spread across Europe in the 19th century. The dance follows a simple pattern in 2/4 time. Playful yet elegant, the Scottish can be danced with variations, making it a favorite at folk balls.

Latin Lover

I don’t have a proper studio recording of this song, but I still wanted to share a glimpse of how it sounds, as Salvia also appears in my book 𝐒𝐢𝐧𝐠 𝐘𝐨𝐮𝐫 𝐒𝐨𝐧𝐠.

It was the second song I ever wrote—I was only 13 or 14 years old at the time. I still remember how the melody, chords, and structure came together in just ten minutes, as if the song had been waiting to be written.

The full story behind Salvia can be found in Chapter 3 of the book.

Salvia

Wasicun Days was the third song I ever wrote and my first protest song.

Wasicun Days

When people hear the lyrics to my first-ever song, Won't You Leave, they often assume it’s about a breakup. And it is… but not the kind they’re thinking of.
I was only 13 when I wrote it.
And no, it wasn’t about a romance—it was about a fracture much deeper.
The full story behind Won’t You Leave unfolds in the namesake chapter of my book 𝐒𝐢𝐧𝐠 𝐘𝐨𝐮𝐫 𝐒𝐨𝐧𝐠.

Won't You Leave

I wrote One to Touch in 2017. The song’s title was given to Chapter 7 of 𝐒𝐢𝐧𝐠 𝐘𝐨𝐮𝐫 𝐒𝐨𝐧𝐠, as it reflects the bittersweet ache of reaching for something never meant to be yours.
The fire of passion, the cold sting of reality—woven into memories, into lyrics, into the pages of my book.

One To Touch

The Games is a protest song I wrote after reading the Hunger Games series.

The Games

Some songs are more than melodies—they’re echoes of a life moment. "Don’t Mention Love" is one of them. The song was written in a time when I understood I was too wounded to embrace love. That journey became Chapter 5 of my book 𝐒𝐢𝐧𝐠 𝐘𝐨𝐮𝐫 𝐒𝐨𝐧𝐠—named after the song itself.
In my signature folky style, with a punchy folk-rock edge and haunting uilleann pipes (Irish bagpipes), it captures the tension between longing and resistance.

Don't Mention Love

Fading Rose was born out of heartbreak (and a little anger 😉) when I discovered my boyfriend had cheated. It ends with an extended solo on Flemish bagpipes.

Fading Rose

Writer, musician, and truth seeker—turning life’s journey into melodies and meaning.

One To Touch

Hazel's Song

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