Babel Music XP kicks off this Thursday, turning Marseille into a hub for Mediterranean and global musical expressions. Over the weekend, the festival will host 30 acts from over 20 countries countries, presenting the pulsating heartbeat of the world music world

On Saturday at 3:30PM, the distinctly “local” ensemble, BOUCS!, takes centre stage at La Friche la Belle de Mai’s Grand Plateau. Led by vocalist and multi-instrumentalist Sam Karpienia, this Marseille-based trio will deliver a unique fusion of Occitan poetry with electric guitar-driven sounds.

Comprising Mathieu Sourisseau (guitar) and Nicolas Lafourest (bass), with Karpienia on vocals, mandola, and tambourine, BOUCS! combines regional poetic elements with experimental and post musical styles. They integrate Southern French and Mediterranean musical traditions with the robust influences of Anglo-Saxon rock.

Few groups represent Marseille’s unique cultural approach as authentically as BOUCS!. The trio embodies the dynamic essence of this French port city’s music scene, which is deeply rooted in a rich cultural heritage yet remains ever-evolving. This innovative spirit is in perfect harmony with the goals of Babel Music XP.

In anticipation of their performance, we spoke with Sam Karpienia to delve into the group’s musical evolution and the impact of their geographic and cultural surroundings on their creative output.

In just a few days, you’ll be taking the stage at Babel Music XP, a space known for showcasing innovative and boundary-pushing artists from the Mediterranean and beyond. What are your thoughts on this festival, and have you ever attended it as spectators before?

It’s an important annual event that helps strengthen professional and artistic connections, often with artists who share similar approaches to ours. I’ve played at Babel before, and I’ve been attending as a spectator every year since its creation.

Performing at Babel XP in Marseille means playing for an audience that is both deeply local and internationally diverse. How do you feel about presenting your music to such a mix of listeners? Do you adapt your set or approach based on the crowd?

Each venue influences the way we play. We take inspiration from the space where we perform, but the repertoire always remains the same.

Growing up in Port-de-Bouc, just outside Marseille—a city with a long history as a gateway between cultures, shaped by influences from North Africa, the Mediterranean, and beyond—must have exposed you to a rich tapestry of traditions. How has this background influenced your songwriting, storytelling, and overall artistic vision?

Port-de-Bouc influenced me through its political history (the working-class struggles and their demands), social reality (the city housed many workers affected by deindustrialisation, the gig economy, and unemployment), and cultural richness (I attended Gitano flamenco weddings, Greek Easter celebrations, Italian feasts, and Maghrebi raï parties). All of this shaped my Anglo-Saxon rock background.

Your music is described as a “bridge connecting the Latin and Anglo-Saxon worlds, blending the raw energy of rock with the echoes and cries of the Mediterranean,” merging different cultural elements into something uniquely your own. How do you achieve this balance, and what influences do you consciously bring into your compositions?

Consciously, I have worked on vocal expressiveness inspired by flamenco, Southern Italian songs, rebetiko, and Oriental music from the Maghreb, the Middle East, Pakistan, and Turkey. I have integrated these influences into my identity as a proud Occitan singer. In recent years, I have reconnected with my rock roots from my youth, as part of a personal quest for honesty rather than an intellectual stance.

BOUCS! is more than just a trio; it’s a collaboration of three distinct musical minds with different backgrounds and strengths. What does each of you bring to the project, and how do your individual influences and skills shape the band’s sound?

We each have long musical journeys, with unique experiences and a lot of experimentation. Some musical encounters are fleeting but enriching. BOUCS! has existed for about five years, with no leader and no predefined musical direction. Everything happens through music, without any conscious intellectual stance. We’ve been through a lot, we’re from the same generation, and we share many common influences.

Singing in Occitan is a distinctive artistic choice, especially in today’s music landscape. How does this influence the way people connect with your music, both within and outside Occitania? Have you encountered any unexpected reactions from audiences unfamiliar with the language?

Outside of France, it’s not an issue at all. I’ve played in Turkey, and people compared me to Noir Désir or Bob Dylan. In France, sometimes people assume it’s a language from some distant country. Only those with a connection to regional languages tend to be resistant, because they don’t recognise the folklorised Provençal of a certain era, which is often seen as the standard.

However, the new generation of “Occitanist” musicians, like the collective La Novia or HartBrut, relate to this approach of revitalisation.

What themes or stories are you currently exploring in your upcoming works? Are there any new musical styles, collaborations, or projects on the horizon that excite you, and how do you see BOUCS! evolving in the future?

I’ve joined a contemporary music ensemble, Transphonie, an oratorio written by Italian composer Daniele Del Monaco. It’s a very ambitious project that required a lot of effort from me, as I don’t know how to read sheet music. I’m very proud of it, and we have concerts and an album planned.

I recently started a project with pianist Nicolas Conte, who comes from jazz and experimental music. It’s an exciting experience that we’re going to continue.

I also have a very rock-oriented solo project in French launching this year—deconstructed gypsy guitar, distortion, and drum machines.

My official band, De la Crau, which I’ve played with for seven years, is currently recording its second album.

As for BOUCS!, with Babel, we hope to play as many concerts as possible in France and internationally.

Returning to the topic of Marseille, its music scene is renowned for its rich underground movements and cross-genre collaborations. As artists immersed in this dynamic environment, have you connected with any local musicians or scenes that have influenced your sound or creative approach?

I’m close to the younger, very rock-oriented scene. I’ve lived in Marseille for 30 years, and I run into musicians from all kinds of styles from my generation—the most curious ones, those who are receptive to unique artistic approaches across different musical genres.

Are there any emerging artists or bands from Marseille and its surroundings that you think deserve more attention? If so, why?

All the music coming from the collective La Novia, Lost in Tradition, Pagans, Hart Brut. Last year, I really liked an Oriental post-punk band from Lebanon, SANAM.

For those discovering BOUCS! for the first time at Babel XP, what do you hope they take away from your music and message?

The message!? … If there is one… it would be that anything is possible with patience and persistence—a journey of self-work that allows for lasting artistic encounters.

If you were to invite our readers to your showcase at Babel XP, what would you say to them?

Welcome !

And more seriously, if you’re hesitating between a great traditional music concert or a great rock concert inspired by multiple influences, come listen to BOUCS!

… Noise, experimental, folk, electric, acoustic, guitar, mandolin, double bass…

BOUCS will perform as part of Babel Music XP at the Grand Plateau stage at La Friche la Belle de Mai
on Saturday 22nd of March at 3.30PM. You can get your ticket/s HERE

Photo ©: Jean de Pena