Based in Lyon and rooted in Guadeloupe, Martinique, and Armenia, Dowdelin defines itself as a “Creole Afro-Futurist” quartet. Their music is a vibrant and fragmented blend of electronic sounds and jazz, enriched by influences from the French West Indies such as Gwo-Ka, Biguine, Quadrille, and more.

The group was formed in Lyon through the meeting of producer David Kiledjian and singer Olivya. The name “Dowdelin“, a Creole wordplay meaning “slow and lazy,” ironically contrasts with their energetic and dynamic music, which fuses Afro-Caribbean styles, Creole vocals, and European-influenced electronic sounds. For Olivya, who hails from Martinique but grew up in France, this fusion of styles came naturally. Joining them are Franco-Guadeloupean drummer and saxophonist Raphaël Philibert and drummer Greg Boudras, completing the quartet.

In 2018, Dowdelin released their debut album “Carnaval Odyssey“, preceded by the singles “Boaty Cruisy” and “Laissé Mwen“. The album combines dancehall, jazz, and R&B, interwoven with the gwo-ka rhythms of Guadeloupe and layered with electronic synths. The result was an infectious project, described as featuring “boundary-breaking beats” (UK Vibe). The album’s success took the band on tour across Europe, with performances at prominent festivals such as Womad, Shambala, and Love Supreme.

In February 2022, the group released their second album, “Lanmou Lanmou“, under the French label Underdog Records. “Lanmou Lanmou is much more song-driven and direct compared to Carnaval Odyssey” explains Kiledjian. “With the first album, we were still defining our sound, but this time, everyone in the band understood their role and the kind of music we wanted to create. That’s what made this record more alive, organic, and perfect for dancing.”

Lanmou Lanmou defies classification, blurring boundaries and challenging expectations. It deliberately unsettles both rebels and traditionalists: those who advocate for an official form of reggae, insist on the “right” kind of zouk, or adhere to canonized versions of jazz or historically validated biguine. Much like the languages, cultures, and identities of the Caribbean—never entirely European nor fully African—it is impossible to pinpoint Dowdelin’s exact place in the official musical landscape. Their Afro-Creole futurism exists at a unique crossroads, within the Black Atlantic, where roots and experimentation intertwine.