Katell Keineg plays her first gig at West Hampstead Arts Club having last played in London in 2017. Tom Jones released a version of her song “One Hell Of A life” in late 2021 and has been playing it at all his concerts since then. Her songs have also been covered by Natalie Merchant and Gabriel Rios. She recently finished recording her 5th album after writing for the theatre during the last few years.

Katell released her first vinyl-only single on the SOL label in 1993. After guesting on an Iggy Pop album, she made two acclaimed albums for the legendary Elektra label in New York. Her subsequent albums and E.Ps include High July on French label Megaphone Music in 2004 and At The Mermaid Parade on the UK’s Honest Jon’s Records in 2010. She collaborated with Dutch composer Marike Van Dijk and her 14-piece ensemble on a 2018 release called The Stereography Project.

Over the years, Katell has toured Europe and North America, playing her own, sold out gigs, as well as festivals including Glastonbury, Green Man, Reading, Roskilde, SXSW, and WOMAD. She played many concerts with Jeff Buckley, and has appeared at Carnegie Hall with Allen Ginsberg, Philip Glass and David Byrne and at the Albert Hall with Natalie Merchant.

Rolling Stone - “There’s a theory that certain musical frequencies affect people emotionally. Katell Keineg has found them. It’s damn near impossible to listen to her earthy and ethereal voice without feeling the spirit move you. Her shy, allusive songs combine the world weary romanticism of Leonard Cohen with Tim Buckley’s slurred incantations”

The New York Times - “Katell Keineg has a voice so charged with feeling that it lifts everything she sings to the level of a primal wail”

NME - “The arrangement of the song (Mama, You’ve Been On My Mind), leaves everybody in bits. There’s no instruments involved, which is something Sinead (O’ Connor) has done in the past, but now she’s got Katell Keineg singing in a heavenly counterpoint – exotic and sad like nothing I’ve heard before.”

LA Times - “Conveying a nearly beatific sense of joy in performance”