In conversation w/ Ange Halliwell

JUNE 19, 2025
WORDS ADRIÁN GOMIS EXPÓSITO
PHOTOGRAPHY NAÏA COMBARY
SPECIAL THANKS PLURAL ARTIST MANAGEMENT

In a genre-blending universe where folk melodies meet chainsaw soundscapes and ethereal visuals collide with haunted ritualism, Ange Halliwell emerges as a singular voice. Rooted in the rural landscapes of southwest France and deeply inspired by the natural and supernatural alike, this harpist-composer conjures immersive experiences that transcend traditional boundaries. In this intimate conversation, he reflects on her artistic journey—from the first pluck of harp strings at twelve to a sonic world where melancholy and light dance in tandem.

You began playing the harp at 12—what drew you to such a classical instrument, and how has your relationship with it evolved over time?

Before the harp, I was learning the guitar because my brother was learning it too, so I followed him. We liked it, but we didn’t love it. One night, I saw a friend of my parents playing the harp, and it was love at first sight. That moment will be forever engraved in my mind. So I stopped playing the guitar, and so did my brother. Later, he learned the hurdy-gurdy, and I took up the harp. Yes, it really evolved in a deeper way: at first, it was just a hobby, and now it’s both a hobby and my job. I’m so grateful for that — it took me years to call myself a ‘harpist’, and even today, I must admit...

Your music weaves together elements of lyricism, traditional folk, and even horror. How do you approach blending such seemingly contrasting influences into a coherent sound?

To be honest, I don’t really think about it too much. I’d say it’s quite instinctive: I just try things out, and I’m not really focused on “this usually goes with that, so I’ll do it that way”. It’s actually the opposite, I love contrasts. For example, on the track “Mr. Downstairs and the Spooky Dance”, I added a chainsaw sound alongside the harp’s bass, and I think they fit surprisingly well together. I like placing the harp where people don’t expect to hear it.

There’s a strong connection to nature in your work—can you tell us how the landscapes of southwest France have shaped your musical and visual world?

I’m from the countryside and have always been surrounded by animals and nature. I don’t know if all of my music and visual world are directly shaped by that, but the feeling I get when I’m in nature is one of complete freedom. There are so many beautiful and inspiring things outdoors, but my favorites are abandoned places in the countryside, especially those near the mountains. When it’s cloudy, it’s even more inspiring to me. I love being scared and exploring, it’s so exciting, and I guess it somehow infuses my work!

Your compositions oscillate between the luminous and the melancholic, between serenity and intensity. What emotions or experiences do you hope to evoke in your listeners?

Oh, I don’t really know. I don’t expect anything very specific to be felt from my music. If people enjoy it, I’m happy, and if not, that’s fine too. I love it when people come to me after a show and tell me what they felt at certain moments. It’s always so interesting (and sometimes funny) to see how differently things can be experienced.

Voice plays a powerful role in your music, whether sung, spoken, or screamed. What does the human voice mean to you as an instrument?

I like it because it can add a very interesting and symbolic layer to the foundation of a melody. The human voice is so rich and unlimited, and sometimes, with words, it brings an infinite variety of possibilities... that’s so cool.

Your project feels holistic, almost ritualistic. Do you view your music as a form of healing or spiritual practice?

As for my music, I don’t really know, it’s up to the listeners. But the harp itself can be very healing, even when played without any conscious intention. Sometimes, when I play, I enter a strange (but good) state, and it’s always fascinating to experience how far and how out of the moment the instrument can take us.

Visuals are an integral part of your universe. How do you approach the visual side of your work, and how do you see it in dialogue with your sound?

Yes, it’s very important to me! I still hear that people don’t really care about music videos nowadays, but for me, it’s where I can truly express everything I want. I love watching and rewatching music videos from artists I admire. They really give us the keys to enjoying the music on a deeper level.

What’s inspiring you right now—musically, spiritually, or personally—as you move into your next phase of creation?

I came back a few weeks ago from Japan, and it was truly magical. I discovered Shintoism, and it was really stirring for me. The otherworld will always be an infinite source of inspiration for me, just like the supernatural. I will keep exploring beyond. But for now, I’m focused on my upcoming album, Spirit, Are You Here?, which I hope to release this autumn.