Banlieues Bleues Hors Les Murs

On April 16, 2026 at La Flèche d’Or (Paris 20th arrondissement), Chris Ryan Williams unfolds a trumpet that is at once instrument and material. Breath, timbres, electronics and collages intertwine to shape soundscapes where improvisation brushes up against drone and ambient. Coming from the Brooklyn scene and used to playing in ensembles, he stretches time in slowed-down solos, working with resonance and with the ways the body perceives it. His recent Odu: Vibration II provides the key: an underground, almost tactile exploration that guides the listening toward its shadowy recesses and its clearings. On stage, trumpet and machines become a discreet laboratory where nuance outweighs effect and each motif unfolds in layers.

KeiyaA, meanwhile, has been blurring the lines between R&B, soul and electronics since Forever, Ya Girl. With Hooke’s Law, her second album released on XL Recordings, she shifts the balance toward indie-pop, club music and jazz inflections. Written and composed alone over five years, this repertoire lays bare precise lyrics threaded with esoteric inspirations, intimate questions, sadness and desire. Her voice, at times powerful and at times smoky, moves between harmonies and flexible tempos, while flute, tightly measured samples and rougher percussion create a fertile friction. In duo with her machines, she sculpts a compact, direct set in which every detail counts.