Veeko: Where Rhythm Finds Its Voice

He plays the drums the way others tell stories — with instinct, vulnerability, and a fire that feels both raw and precise. From the North of France to collaborations with Pharrell Williams, Gabriel Moses, Sofiane Pamart and major luxury houses, Veeko has grown into an artist who speaks through rhythm as naturally as through words.
With House Of Birds, a debut album that moves between jazz, tribal energy, and the pulse of the dancefloor, he invites listeners into a space of freedom, imagination, and self-expression. In this conversation, Veeko reflects on intuition, ambition, identity, and the lifelong dialogue between him and his instrument.

Veeko: Where Rhythm Finds Its Voice

He plays the drums the way others tell stories — with instinct, vulnerability, and a fire that feels both raw and precise. From the North of France to collaborations with Pharrell Williams, Gabriel Moses, Sofiane Pamart and major luxury houses, Veeko has grown into an artist who speaks through rhythm as naturally as through words.
With House Of Birds, a debut album that moves between jazz, tribal energy, and the pulse of the dancefloor, he invites listeners into a space of freedom, imagination, and self-expression. In this conversation, Veeko reflects on intuition, ambition, identity, and the lifelong dialogue between him and his instrument.

  • You often talk about that childhood “love at first sight” with the drums. Looking back, do you feel the instrument chose you as much as you chose it?

    I think we chose each other — neither more than the other. In any case, the drums healed me a lot, and I try to give back everything they’ve given me. I think we were meant to meet.

  • You’re from the North of France, from a background with no direct connection to music. How did that environment shape the way you see your work today?

    That environment pushed me to go beyond myself, to create more visibility than if I had grown up in Paris. But it also taught me to be singular, to blend different ways of living and working. It taught me to never give up and reminded me that my craft would constantly ask me to reinvent myself — maybe even more than others.

  • Your first teacher taught you musicality before technique. Do you still nurture that intuitive approach today?

    Of course. At home, I often play over tracks I don’t know and have never heard before. It helps keep my ears and my brain alert. It prioritizes listening and spontaneity. I love it!

  • When did you realize that the drums weren’t just a rhythmic foundation, but a voice capable of taking the lead — and that you could carry that voice?

    I think I always knew it, in a way. I didn’t change how I played or how I behaved — what I offer the audience today is something I think I was already offering when I was 10. The hardest part was convincing people that I was speaking through my percussion. I always wanted to express myself from behind my drums.

  • You often talk about that childhood “love at first sight” with the drums. Looking back, do you feel the instrument chose you as much as you chose it?

    I think we chose each other — neither more than the other. In any case, the drums healed me a lot, and I try to give back everything they’ve given me. I think we were meant to meet.

  • You’re from the North of France, from a background with no direct connection to music. How did that environment shape the way you see your work today?

    That environment pushed me to go beyond myself, to create more visibility than if I had grown up in Paris. But it also taught me to be singular, to blend different ways of living and working. It taught me to never give up and reminded me that my craft would constantly ask me to reinvent myself — maybe even more than others.

  • Your first teacher taught you musicality before technique. Do you still nurture that intuitive approach today?

    Of course. At home, I often play over tracks I don’t know and have never heard before. It helps keep my ears and my brain alert. It prioritizes listening and spontaneity. I love it!

  • When did you realize that the drums weren’t just a rhythmic foundation, but a voice capable of taking the lead — and that you could carry that voice?

    I think I always knew it, in a way. I didn’t change how I played or how I behaved — what I offer the audience today is something I think I was already offering when I was 10. The hardest part was convincing people that I was speaking through my percussion. I always wanted to express myself from behind my drums.

  • “House Of Birds” is described as bold, subtle, and full of tribal energy. What does the “Veeko sound” mean to you?

    It’s mine — a sound that comes entirely from the heart, the soul, and passion. I think my sound tells many adventures and stories.

  • The album explores jazz as much as the pulse of the dancefloor. How do you maintain that balance between tradition and the future?

    Again, if you're trying to understand what my music sounds like, just look at who made it. I’m a blend of many influences and cultures. Jazz and dancefloor culture are part of that mix.

  • What was the most decisive — or the most challenging — moment in the creation of this first album?

    The hardest part was the starting point: what the color would be, what the angle was, the recipe…
    I asked myself 10,000 questions, deleted early drafts, started over. With my producer Thomas Sega, we spent a lot of time shaping the identity of this project. The foundations were the hardest things to build. Once that became clearer, the whole imagery came naturally.

  • You’ve collaborated with Pharrell Williams, Gabriel Moses, Sofiane Pamart, Audemars Piguet… How did these projects help you own your ambition as a solo artist?

    Mainly the timing — these projects came at a moment in my career when I decided to take the path of a solo musician. So they really confirmed my choices and aspirations, showing me that I could associate my name with major brands.

  • Why birds? What does the title House Of Birds symbolize?

    I wanted people listening to this project to find a place where they could let go, travel, fly from their living room or their car. I think freedom is one of the most beautiful sensations on Earth. I wanted people to see what I see when I’m behind my drums.

  • “House Of Birds” is described as bold, subtle, and full of tribal energy. What does the “Veeko sound” mean to you?

    It’s mine — a sound that comes entirely from the heart, the soul, and passion. I think my sound tells many adventures and stories.

  • The album explores jazz as much as the pulse of the dancefloor. How do you maintain that balance between tradition and the future?

    Again, if you're trying to understand what my music sounds like, just look at who made it. I’m a blend of many influences and cultures. Jazz and dancefloor culture are part of that mix.

  • What was the most decisive — or the most challenging — moment in the creation of this first album?

    The hardest part was the starting point: what the color would be, what the angle was, the recipe…
    I asked myself 10,000 questions, deleted early drafts, started over. With my producer Thomas Sega, we spent a lot of time shaping the identity of this project. The foundations were the hardest things to build. Once that became clearer, the whole imagery came naturally.

  • You’ve collaborated with Pharrell Williams, Gabriel Moses, Sofiane Pamart, Audemars Piguet… How did these projects help you own your ambition as a solo artist?

    Mainly the timing — these projects came at a moment in my career when I decided to take the path of a solo musician. So they really confirmed my choices and aspirations, showing me that I could associate my name with major brands.

  • Why birds? What does the title House Of Birds symbolize?

    I wanted people listening to this project to find a place where they could let go, travel, fly from their living room or their car. I think freedom is one of the most beautiful sensations on Earth. I wanted people to see what I see when I’m behind my drums.

  • You’re a musician deeply connected to imagery. How would you define your visual signature?

    It’s important for me to express 100% of my artistic side. Music is my main and primary language, but I’m very sensitive to shows, outfits, and the way we create a world — an artistic imaginary universe.

  • What does fashion give you that music can’t?

    Fashion allows me to create characters. Clothing can be the barrier between me and my deepest inner self. Clothes give me a confidence that I then pour into my music.

  • You’re often invited by major luxury houses. What moves you in this dialogue between luxury and music?

    Look at the biggest luxury campaigns… what’s essential in them is the music! Music can charm, energize. The biggest pop stars are often musical artists, and they’re the best allies for luxury brands to spark global desire. Music, for its part, needs spectacle — it has also become visual. That’s why the great icons partner with luxury houses to create incredible looks.

  • You’re part of a new French scene with a very international presence. How do you see French music evolving?

    Very positively. I think French music is evolving more and more and opening itself to the cultures around it. We need art — especially music — to connect us to others.

  • What path would you like to open for the next generation of drummers?

    The path of believing in yourself — in your unique abilities — and letting go of the urge to copy others. Play with your inner self.

  • What’s the question no one ever asks you… but you wish they did?

    If I were a drum element, which one would I be?

  • You’re a musician deeply connected to imagery. How would you define your visual signature?

    It’s important for me to express 100% of my artistic side. Music is my main and primary language, but I’m very sensitive to shows, outfits, and the way we create a world — an artistic imaginary universe.

  • What does fashion give you that music can’t?

    Fashion allows me to create characters. Clothing can be the barrier between me and my deepest inner self. Clothes give me a confidence that I then pour into my music.

  • You’re often invited by major luxury houses. What moves you in this dialogue between luxury and music?

    Look at the biggest luxury campaigns… what’s essential in them is the music! Music can charm, energize. The biggest pop stars are often musical artists, and they’re the best allies for luxury brands to spark global desire. Music, for its part, needs spectacle — it has also become visual. That’s why the great icons partner with luxury houses to create incredible looks.

  • You’re part of a new French scene with a very international presence. How do you see French music evolving?

    Very positively. I think French music is evolving more and more and opening itself to the cultures around it. We need art — especially music — to connect us to others.

  • What path would you like to open for the next generation of drummers?

    The path of believing in yourself — in your unique abilities — and letting go of the urge to copy others. Play with your inner self.

  • What’s the question no one ever asks you… but you wish they did?

    If I were a drum element, which one would I be?