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This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks are about the places. Some are about the people you meet along the way. Some are about what happens between the stage and the next soundcheck. Gas stations. Backstage tables. Megaphones. Chess games. Trumpets that refuse to stand still.
2000 Mechelen. Spijkenisse. Two festivals. Two countries. Keep moving.
2003 Brussels, Grande Place. Sam and Sam on trumpet. A lot of noise in a very big square.
2008 Würzburg. Hanging out backstage. The gig is coming. For now, coffee, conversation and waiting.
2015 Zaventem. Piet and Bart going at it on stage. Then laughing with people in the crowd.
2019 Leuven. Meldorf. Megaphones up. Brass flying. Bart pointing at Jo. Piet yelling into the night. The audience comes along.
2020 Budapest. Cancelled. COVID.
2025 Flobecq. The electric set is done. So naturally the band keeps playing. Acoustic. Right in the middle of the people. Dendermonde. Soundcheck. Chess. Then drums, bass, horns and accordion.
Somewhere between the stage and the next gas station, there is always another song.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next room.
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks are about the festivals. Some are about the weather.
Some are about what happens before, after and occasionally instead of the concert.
2003 Den Bosch. A theatre festival. An attentive audience sitting down and listening. Then back on the road again.
2005 Quiberon. A stage on the beach, with the sea behind it. Chanteix. A festival, a little backstage chaos and a car eventually packed far beyond what any sensible vehicle should have to endure.
2007 Portlaoise. The World Fleadh. Rain. Lots of rain. The kind that makes the stage lights glow a little harder.
2010 Budapest. Sziget. A huge festival island, a backstage apple, a megaphone, a bass clarinet solo and a crowd stretching out in front of the stage.
2013 Riga. A trumpet by the river at sunset. A megaphone waiting for the show.
2018 Detmold. A packed square. A bass solo. And two trumpet players enthusiastically pointing the audience towards Mathieu.
2019 MeYouZik, Luxembourg. Another night of brass, rhythm and movement. And the road keeps going.
From beaches to city squares. From theatre festivals to muddy festival fields. From quiet backstage moments to crowds in the thousands. Sometimes the archive gives you the concert. Sometimes it gives you the apple on Piet’s head. We’ll take both.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next room.
"...Throughout the album, the group creates a mysterious and downbeat mood, allowing melodic motifs to slowly unfurl over beatless soundscapes and drawing listeners into their gentle pace. There is plenty of virtuosity on display, especially in the spaciousness each player allows the other while they take turns to pull focus on each composition..."
Thank you Ammar Kalia and Jazzwise for the review on the new Album Unland by 3'Ain.
► Read the full review HERE.
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks take us back to familiar places. Dranouter, again and again. Festivals where the band returned across different decades, with different line-ups, different songs and many of the same instincts: play hard, listen closely, get the crowd moving.
2002 Esperanzah! Bruges. Rossignol. Belgium filling up with summer festivals and outdoor stages.
2006 Doel. A stage beside the electricity pylons. Esperanzah!, this time with the Gangbé Brass Band. Music, brass and a rather unusual industrial landscape.
2007 Dranouter. And then Italy. Cassine. Cake on a backstage terrace, because touring is also about the moments between the shows.
2009 Oignies-en-Thiérache. A concert for Fedasil, joined by musicians from Gangbé Brass Band. Another reminder that music can create a meeting place long before anyone has worked out what to call it.
2013 Dranouter again. A familiar stage. A familiar crowd. A band still very much in motion.
2018 Baranya. Ottenburg. Hungary and Belgium in the same week. Roads, taxis, vans, festivals, sunsets and plenty of waiting around.
2020 Uccle. Ganshoren. Outdoor concerts during a strange summer, with distance between the musicians and the audience, but still a connection.
2024 Ostend. Quartier d’O. The summer keeps moving. And so do we.
Different stages. Different countries. Different circumstances. Same appetite for the next concert.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next room.
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks are about milestones. Festivals that shaped a summer. Showcases that opened new doors. Journeys that stretched across countries and continents.
2004 London. A run of concerts. The Royal National Theatre. The fROOTS anniversary party. City streets turning into dance floors. A toddler asleep backstage one moment, watching the music the next.
2005 Berlin. Nürnberg. Germany becoming another familiar stop on the map.
2007 Cambridge Folk Festival. WOMAD. Two legendary festivals in one week. BBC Radio 3 stage. Thousands of people. New audiences. New friendships.
2008 Calgary. A final festival before the long journey home. Airport benches becoming makeshift bedrooms. Tour life in its most familiar form.
2018 & 2019 Stuttgart. Nürnberg. Returning years later. Some festivals change. The feeling of walking on stage never really does.
2025 Dranouter Festival. Another summer. Another crowd ready to dance. Some new faces in the band. The invitation remains the same.
Come closer. Move with us. From London to Calgary. From Cambridge to Dranouter. Across borders, generations and thousands of kilometres. Still making music together. Still finding people ready to dance.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next room.
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"Mit Trompete, Akkordeon und Kon- trabass erweitern 3'AIN ihr Schaf- fen auf jetzt die 3. CD. „Unland" lebt wie die Vorgänger von ent- spanntem Zusammenspiel mit wenigen Tönen in langen Komposi- tionen. Sehr harmonisch und musi- kalisch keinem Kontinent zuzuordnen."
"With trumpet, accordion and double bass, 3'AIN expand their musical horizons on what is now their third CD. Like its predecessors, "Unland" thrives on relaxed ensemble playing, using few notes in long compositions. It is highly harmonious and, musically speaking, cannot be pinned down to any particular continent."
Thank you Ohrensmauch for this warm review on the new album Unland by 3'Ain.
► Read the review by clicking on the picture on the right. (In German)
This week. Different years. Same band. 30 years on stage. Brussels based. Jaune Toujours.
Some weeks become postcards. Not because everything is perfect. Because every stop leaves behind one image you never forget.
Ghent deserves a chapter of its own. Between 1997 and 2017, we returned to Gentse Feesten again and again. This week alone holds performances across many different editions, from Spiegeltenten to Sint-Jacobs, Polé Polé and beyond.
2000 Koksijde. Press photos on the beach before the evening concert. Sand instead of a backstage. The North Sea as a dressing room.
2002 France. Village squares. Terraces. Long dinners after the show. Music travelling through places where everyone seemed to know everyone.
2006 Ghent. Bluenote Records Festival. Jena. A club with graffiti-covered walls and a courtyard full of people waiting for the night to begin. Different countries. The same conversations before the first note.
2008 Calgary. A breakfast television studio before most people had finished their coffee. Festival stages. Radio sessions. Signing albums. Meeting the people behind the applause. One festival becoming a whole week of stories.
2009 Francofolies. The concert ended. The audience wasn’t ready to leave. So the music continued acoustically, right in the middle of the crowd. Sometimes the best encore isn’t planned.
2011 Porto. Casa da Música. One of those buildings that makes you stop before you even walk inside.
2016 Veszprém. Street Music Festival. Crowds singing back. Music spilling out into the streets instead of staying on the stage.
2017 Gentse Feesten. Another summer evening where Brussels grooves met a Ghent crowd that knew exactly what to do.
2024–2025 Back to Veszprém. Back to Leuven.
New songs. New faces in the band. The same joy of arriving somewhere with instruments and leaving with memories. Different cities. Different audiences. Different summers. Still finding the people who turn a concert into a celebration.
Different places. Same week, stretched across time. We don’t archive the past. We carry it. Still playing. Still moving. Still open to the next stage.
Sometimes the best reviews don’t come from journalists. They come from people who were there.
A professional from the Belgian music scene told us: “Jullie kregen Kasterlee aan het dansen en dat is niet evident! Het was KEIGOE zoals ze dat in de Kempen zeggen.” The organiser simply said: “Het was eclectisch, gelaagd en mega-groovy.”
We’ll happily take both. Thank you, Wisselfestival, for the warm welcome, and thank you to everyone who danced with them until well after midnight. You turned a concert into a shared moment.
These photos were taken by our apprentice roady, Louise Provoost, who is about to begin her studies as a lighting engineer. We wish her all the best for the adventure ahead. May this be just the beginning.
"...Die Soli sind virtuos, dabei songdienlich, bewahren aber die Spannung...Bassgroove getragene "Staketsel" mag als Hörtipp dienen. Eine berührende World- Jazz-CD, die hervorragend zwischen Kon-
templation und Energetik pendelt, klasse!..."
"...The solos are virtuosic yet serve the songs well, while maintaining the tension...A moving world-jazz CD that masterfully oscillates between
contemplation and energy—great!..."
Thank you Good Times Magazin for your heartwarming review on the new Album Unland.
► Read the full review in the link on the right of the screen. (In German)