Clemix, the Belgian musical UFO turning tenderness into a livewire show

Clemix does not really fit into one box, and that is exactly the point. Singer, pianist, producer and former saxophonist, the Belgian artist moves between French chanson, funky electro and jazzy hip-hop, building a world where irony, vulnerability and groove coexist without ever cancelling each other out. With her first album Endorphine, released in September 2024 on the French label La Couveuse, she has stepped into a new phase: more visible, more affirmed, and still gloriously hard to pin down.

What makes Clemix immediately compelling is the tension at the heart of her music. On the surface, there is lightness, humour and a sense of play; underneath, there are songs about love that slips away, death, time passing, chaos and the strange comedy of being alive. Ket readers will recognise the vibe: an artist who can make you laugh, wince and dance within the same track.

A self-made artist with sharp edges

Clemix has been building this project for years, after a long stretch of artistic collaborations, DJ life and more than 250 concerts across different formations and instruments before fully stepping out solo in 2017. Since then, she has released several EPs and singles — including Discobar, Non Merci, De rien du tout and Tout mais pas la salsa — before arriving at the more complete statement of Endorphine.

A key part of her identity is that she remains the main architect of her own sound. The press kit describes her as the sole producer and composer at the controls of the project, shaping her electronic arrangements while opening the door, on this album, to more organic textures like brass and double bass. That mix says a lot about her: independent but porous, precise yet never cold.

Endorphine without side effects

If Endorphine works, it is because it feels coherent without becoming rigid. The album pulls together the different sides of Clemix’s personality — the biting writer, the groove lover, the performer who likes to destabilise gently — into something the press repeatedly describes as free, plural and unfiltered. Reviews from Belgium and France have praised both the strength of the songwriting and the richness of the arrangements, with one critic writing that the record is “coherent and without weak points,” while others emphasise how it balances emotion, intelligence and good humour.

There is also a nice little metric of momentum behind it: Endorphine reached third place in the monthly ranking of the most-played francophone artists on the French Réseau Quota radios in October and November 2024. That kind of result does not happen by accident. It suggests that Clemix is not just admired by niche critics; she is connecting.

A stage presence people remember

Still, the real word that keeps returning around Clemix is live. Whether performing solo or with a brass section, she is presented as a genuine stage beast, able to hold a room through charisma, humour and control of atmosphere, from intimate passages to fully danceable moments. The press kit also points to dozens of recent live dates and a long trail of appearances in Belgium, France, Switzerland and Canada, including stops at the Botanique, Ancienne Belgique, Francofaune and festivals in Montreal, Lyon and Le Mans.

That live dimension matters because Clemix does not come across as a purely studio-built project. She feels embodied. Her songs seem designed to travel well: from headphones to theatre seats, from queer-friendly bars to cultural venues where people still care about lyrics. There is something very Ket in that blend of intelligence and accessibility.

Why she fits the moment

Clemix is not presented in the press material as a queer artist, and there is no need to invent labels she does not claim. But there is something undeniably appealing, for a queer cultural readership, in her refusal of tidy categories and in the way her work embraces contradiction: softness and punch, silliness and sorrow, distance and confession.

That tension is probably what makes her feel contemporary. In Brussels and beyond, a lot of the most interesting artists right now are the ones who are not trying to flatten themselves into one digestible identity. Clemix belongs to that family. She writes in French, thinks in textures, performs with humour, and keeps enough strangeness intact to remain exciting.

Useful links

Belgian press contact: clemix.presse@gmail.com

Clemix official website

Contact / booking: clemix.music@gmail.com and artchanson@gmail.com

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