Blou Feet, Dogtown, Jaso, Namura

Moral Support and Le Chinois present:

* Blou Feet (HK / FR)

Blou Feet is a 22-year-old artist born in Hong Kong and raised in Shanghai. He discovered music during lockdown and taught himself production through YouTube. Inspired by artists like Dominic Fike and Artemas, he has developed a personal approach to pop that incorporates diverse influences, from rock and punk to emo rap and hyperpop.

A singer-songwriter and producer, he writes, produces, mixes and masters his tracks entirely independently. Since his debut, Blou Feet has released several singles and amassed nearly a million streams on Spotify, propelled notably by the tracks "NE M'EN VEUX PAS" and "j’crois pas qu’on devrait se voir."

In 2025, he joined Dali as a support act on tour, an opportunity to present his world on stage and share his music with a new audience.

* Jaso (UK)

Jasper Maurice, aka Jaso, is a post‑production specialist and electronic art‑folk artist straight from London's "arty" scene, appearing in France—and in Paris—for the first time!

* Dogtown (UK / FR)

Born from a shared obsession with art, music and literature, Dogtown is the result of the electric friendship between Birmingham native Tom Taddei‑Davies and Parisian Niko May. What began as a solo project has become a visceral alt‑rock duo, a creative urgency born from the need to strip their sound down to its essentials. Through raw, saturated compositions, the pair capture the tensions of the modern world, turning their view of contemporary chaos into music that is direct, honest and deeply charged with emotion.

* Namura (FR)

Emerging from the solitude of a Parisian room, Namura shapes a universe where the saturation of the modern world meets the raw intimacy of the home studio. At 24, this multifaceted artist—alternately actor and visual artist—approaches music not as a display but as a process of receiving and transmitting pure frequencies.

His first EP, "Quiet Pills," is the result of total creative self‑sufficiency, from the first note to the final mix. One can hear the legacy of an upbringing immersed in sound—between a father who is a musician and a mother who is an opera singer—complemented by the academic rigor gained at the conservatory (accordion, music theory). This technical command, however, yields to a sensitivity that evokes Radiohead's sonic architectures, Björk's rhythmic experimentation, and Clark's electronic melancholy.