Urban Trad

Urban Trad is a Belgian folk music group. They are known for blending traditional sounds with modern influences. Urban Trad formed in 2000 and feature members from both the Flemish and Walloon regions of Belgium, all sharing a strong Galician Celtic connection. The group gained international fame after representing Belgium at the Eurovision Song Contest 2003 with the song “Sanomi,” a unique song performed in an invented language. 

Formation and Early Years

Urban Trad began as a musical project in May 2000. Founder Yves Barbieux assembled about twenty folk musicians to record a debut album. Initially, Barbieux intended it to be a one-off studio venture. However, the enthusiastic response to the album’s promotional concerts convinced him to turn Urban Trad into a permanent band. The name “Urban Trad” reflects the concept: a traditionally inspired band rooted in the 21st century. Acoustic instruments like the accordion, violin, flutes, and bagpipe are backed by a modern rhythmic section.

The band’s first album, One o Four, was released in 2001. It was well-received in folk music circles, quickly establishing Urban Trad as one of Belgium’s premier contemporary folk acts. From the start, the lineup included both Dutch-speaking (Flemish) and French-speaking (Walloon) artists, underlining Belgium’s bilingual culture. Many members also had ties to Galicia (a Celtic region in Spain), influencing Urban Trad’s sound with Galician folk elements. This cross-cultural makeup set Urban Trad apart on the Belgian music scene and contributed to their rich, worldbeat style.

Eurovision 2003 – “Sanomi” and Breakthrough

Urban Trad’s big break came with the Eurovision Song Contest 2003 in Riga, Latvia. The group was selected to represent Belgium with the song “Sanomi,” notable for its lyrics entirely in an imaginary language. The choice of a constructed language was bold and symbolically “universal,” aiming to let the music speak for itself beyond words. Urban Trad’s performance captivated the European audience. They finished in 2nd place in the Eurovision 2003 final with 165 points, just two points behind Turkey’s winning entry. It was an incredibly close finish and one of Belgium’s best Eurovision results ever. Their ethereal folk-pop song stood out in a field of pop performances, and the entry became one of the most memorable moments of that year’s contest.

Controversy

However, the Eurovision journey was not without controversy. A few months before the contest, Belgian officials (on advice of the national security services) decided that singer Soetkin Collier could not participate on stage due to allegations about her having had far-right sympathies in the past. Collier vehemently denied the claims, and later in 2003 an investigation concluded that the accusations were exaggerated and based on outdated information. As a result of her temporary removal, Urban Trad prepared a Eurovision version of “Sanomi” without Soetkin’s vocals. Two versions of the song exist: the original album version featuring Collier, and the 3-minute “Eurovision edit” released as a single with her vocals stripped out.

Despite the off-stage drama, Urban Trad won the hearts of the public in Riga. Their imaginary-language performance demonstrated that music can cross linguistic barriers, a fact even noted by BBC commentator Terry Wogan, who quipped, “They’ve got four languages in Belgium and they’re singing in an imaginary one – the very essence of the Euro”.

Urban Trad’s success at Eurovision 2003 turned the group into national celebrities. Upon returning home, they were celebrated for bringing Belgium to the top tier of the contest. The Eurovision exposure also introduced them to wider European audiences, laying the groundwork for the next stage of their career.

Albums and International Success

Following the Eurovision breakthrough, Urban Trad rode a wave of success in the mid-2000s. Their second album, Kerua (2003), featured “Sanomi” and quickly sold over 30,000 copies in Belgium. The album’s popularity led to releases in multiple European countries, expanding the band’s fanbase beyond Belgium. Urban Trad embarked on extensive tours, performing at venues and festivals across Europe and even in North America. Concert dates increased in countries such as the Netherlands, Spain, the Czech Republic, and even Louisiana in the United States. A clear sign that their modern folk sound had international appeal. They became a fixture on the European folk and world music festival circuit, known for lively shows that could get diverse crowds dancing.

The band quickly gained a reputation for energetic stage performances that showcased their instrumental versatility and vocal harmonies. Capitalizing on their momentum, Urban Trad released a third studio album, Elem, in 2004. This album marked a turning point in their musical direction. While keeping the modern folk touch that made the band successful, Elem was produced by Simon Emmerson of the acclaimed British fusion group Afro Celt Sound System. Under Emmerson’s production, Urban Trad broadened their repertoire beyond exclusively Celtic inspiration. Barbieux drew influences from all over Europe, including Scandinavia, France, and Eastern Europe, infusing the new songs with a pan-European world music flavor. The collaboration with Emmerson and the evolving style demonstrated Urban Trad’s commitment to innovation in folk music.

Awards and a 4th album

Urban Trad continued to earn recognition in their home country. In early 2004, they were nominated for a ZAMU Award (the annual Belgian music industry awards) in the category “Roots” for their achievements, reflecting their prominence in the Belgian roots music scene. Although they did not win, the nomination underscored Urban Trad’s status among Belgium’s top folk/roots acts of the time.

In 2007, the group released their fourth album, Erbalunga, further solidifying their discography. Across these releases, Urban Trad’s sound ranged from upbeat folk-rock dance tunes to melodic ballads, often without intelligible lyrics but full of emotive vocals and rich instrumentation. By the end of the decade, they had built an impressive catalog of modern folk music and a reputation as one of Belgium’s most successful folk exports. In 2010, a compilation The Best of Urban Trad was issued to cap off their first decade, coinciding with a milestone moment and reflecting on their most popular tracks.

Lineup Changes and Later Years

Like many bands with a long career, Urban Trad experienced several lineup changes over the years. The core creative force of Yves Barbieux (flutes, bagpipe) remained constant, but some members departed or were replaced as time went on. Early on, one of the original accordionists, Didier Laloy, left the group; he was succeeded by Sophie Cavez on diatonic accordion. Vocalist and pianist Marie-Sophie Talbot, who had been part of the Eurovision-stage lineup, eventually left the band as well. Notably, singer Soetkin Collier continued to perform with Urban Trad after 2003 and remained one of the group’s prominent voices through the 2000s. The other lead vocalist, Veronica Codesal, also stayed with the band, contributing Galician-Spanish heritage and vocals that highlighted the group’s multicultural identity.

Michel Morvan

A tragic moment for Urban Trad came in 2010, when drummer Michel Morvan died unexpectedly on July 3, 2010. Morvan’s passing was a heavy loss, as he had been the driving rhythmic force in the band’s live performances. After a period of relative quiet following 2007–2010, Urban Trad eventually regrouped. By 2014, there was news of the band reforming with some new members. Bassist Cédric “Bo” Waterschoot, who had played with Urban Trad since the early days, stepped away, and Jill Delien joined as the new bass player in 2014. The drum seat was taken up by Nicolas Scalliet around the same time, filling the void left by Morvan. These changes brought fresh faces into the lineup alongside veterans like Barbieux, Codesal, and Collier.

Even with the changes, Urban Trad maintained their distinctive musical character. The band’s later performances continued to showcase the synergy of dual female vocals, spirited bagpipe and flute melodies, dynamic accordion riffs, and a tight rhythm section. They remained active performing at special events and folk festivals, though on a more occasional basis compared to their peak years. Urban Trad’s influence can be seen in how Belgian folk music embraced more global and cross-genre elements in the 2000s, a trend they helped pioneer.