Name: Vanessa Bedoret
Nationality: French, London-based
Occupation: Composer, violinist, vocalist
Current release: Vanessa Bedoret's new studio album About Time is out November 13th 2026 via scenic____route.

If this Vanessa Bedoret interview piqued your interest, and you would like to know more about her music, visit her official homepage. She is also on Instagram, and bandcamp.



Where do most of your inspirations to create come from – rather from internal impulses or external ones? Which current social / political / ecological or other developments make you feel like you need to respond as an artist?

Most of my inspirations come from emotions, people, dreams, nature, films and sounds I hear wherever I go.

I’m interested in the beauty of nature, as well as existential and social questions that have always been on my mind about time and space, the universe, psychology, surviving in London, the future of the world and the environment, etc. All those questions have created emotions that I’m unable to express in any other way.

Also, when I hear a film score that gives me goosebumps, I feel how much it can elevate the whole film. When the music touches me in the right way, it can completely transform the emotional experience of what I’m watching, and that’s also something I’ve been trying to recreate with my music.

For the lyrics, I like acting as an observer of the world and sometimes of my own feelings, hence the title Eyes for my debut album.



For example, in the song “Is it all?”, the first track I wrote for my new album About Time while I was still touring for Eyes, the question behind it is about the world we live in. Is this all there is? Isn’t there more to life than constantly consuming and living at a fast pace? It’s been on my mind a lot lately, and living in London has made it very obvious.

The lyrics of About Time observe our connection to time and everything around it, such as how our perception of it changes (“See, Saw” and “Braneworld”), dreams (“Theta Waves”), memories (“Engram”), but also our connection to each other in space (“desync,” “Strange Attractor” and “continuum”).

Composing has always had an interesting relationship between honouring its roots and exploring the unknown. What does the balance between these two poles look like in your music?

Playing with the balance between my classical roots and electronics is one of the main elements of my sound.

I’m always trying to remember my classical music roots through my violin, while experimenting with electronic elements that can complement those harmonies and shape the music into my own identity.

The contrast between the two is, for me, what drives my creativity: the softness of strings and vocals in harmony or dissonance with the harshness of beats and noise, complementing each other.

When I think about how I translate this duality into my music, it reminds me of how I try to navigate through the chaos of life with calmness.

How much potential for something “new” is there still in composition? What could this “new” look like?

I think the potential is endless.

New doesn’t necessarily mean inventing something that has never existed before. It seems that most genres that have emerged came from somewhere, whether intentionally or not, and were shaped by mixing existing elements with new ones. Some may have come from older music or from events that have left a strong emotional mark.

Since we have centuries of music and various styles from different parts of the world, I believe there is still potential for new combinations and hybrid genres, as well as completely new ways of creating and expressing emotions.

So, in my opinion, as long as we exist and feel, I want to believe that we might still be able to create surprising things.

What role do electronic tools and instruments play for your creative process? What does your creative space / studio look like and what tools does it contain?

Electronic elements seem to give a structure to my tracks, whether it’s a beat or sound design in the background. They lead the way practically, whereas the violins lead the way emotionally, if that makes sense.

I can start writing a song either with violins or electronic beats, and I then spend the rest of the time focusing on every detail, one kick or note at a time, until I get the exact sound that I want.

My studio is very simple: Ableton on my laptop, violin, guitar, bass and vocals on the mic. There is always going to be some experimentation with external elements added into the mix, such as a wet finger on a glass rim (in “desync”), a fork against metal (used in “Choice”), or my bike wheel (in “Eternal”). Then I use Ableton to manipulate those sounds in various ways and add effects.

For About Time, the creative process was more focused on improving my beat-making skills through experimentation and sample manipulation, as well as experimenting with different ways of recording the violins to get the sound I wanted.

It is my impression that adding a conceptual, non-musical dimension to one's work is almost a prerequisite for commissions and grants. How do you view this tendency and how “conceptual” is your own approach to writing?

So far, I haven’t approached my writing with a concept as the starting point.

The only vision I have is to express this language of emotions in the only way I feel it can be spoken. And the only way I think it can truly be understood is by listening to it and allowing oneself to be taken wherever it may lead, whether that is a memory, a world, a scene, an emotion, or anything unexpected.

About Time is indeed more conceptual than Eyes, but the ideas around time, as well as the lyrics, only emerged after the music had already been written. Somehow, these ideas made sense in relation to the music afterwards and completed the final work.

Personally, the concept doesn’t feel necessary when I write, because I truly believe that the main message is the music itself. It’s already a language in itself, and what matters most in the end is the emotion felt by the listener and their own unique and personal interpretation of the work.

That said, I wouldn’t speak for other artists about this conceptual tendency, because each work is personal to its artist. I do understand and appreciate works of art that are
concept-driven, where the concept is an essential part of the work and completes or deepens the experience of the piece.

How would you say live performances of your music and your recording projects are connected at the moment? How do they mutually influence and feed off each other?

Live performances are an opportunity to rehearse and practise my new recording projects, and to make ‘mistakes’ in order to realise what works and what doesn’t.

Sometimes live performances can also be a chance to find inspiration. I would perform the beginning of a song as a transition between two pieces, and just the action of playing it would help me find the missing elements to finish it. That’s how I wrote most of the songs from Eyes, which started as transitions between other live songs.

The other way around, I try to keep in mind how I’d be performing a track while writing it as much as possible. For instance, by making sure I’ll be singing within my vocal range, although challenges are rewarding and drive me to try new things on stage.