Grégoire Jokic

On 7 October 2026 at 6:00 PM at Point Éphémère, iridescent colors burst forth from the black and white of Grégoire Jokic’s piano. They are those of the electronic textures the former Conservatory student has learned to tame, orchestrating a dialogue between his seasoned piano technique and his sensitivity as a young composer. After stints in bands, the discovery of the music of Jon Hopkins and Max Cooper acted as a trigger. With electronics he seeks to regain freshness and spontaneity, to better free his inspiration and let himself be carried by emotion.

Does Grégoire Jokic belong to a French piano tradition? Probably: his taste for themes and melodies can be heard across the ten tracks of Daydreamer. But on this second album the composer grows in confidence and makes the piano one of the characters in the story he tells. Grégoire Jokic is naturally optimistic; nevertheless, a certain melancholy can be detected in his music. The title track offers an opportunity to rebalance the piano’s role as the album unfolds, evoking the scene in which Grégoire takes pleasure in playing the instrument to which he is closely attached.

Through numerous opening slots for Thylacine and the work on Daydreamer, Grégoire Jokic further refines his style. He experiences music as an exploration, a quest whose primary aim is to connect people with one another.