Blowsom

Arnaud Bernard, alias BLOWSOM, was raised on the Beatles, whom he listened to on repeat with his family in the car. At the age of 8, he tuned his first guitar, but his teacher ended up in prison, so Arnaud ended up teaching himself.

His passion became evident at 18 when he decided to go to study music in Brighton, England, to follow in the footsteps of a band he adored, The Kooks. Whilst there, as he discovered computer-assisted music software, Arnaud became BLOWSOM. At the time, it all happened on SoundCloud, where he shared his music, which was surprisingly electronic in style. Despite interest from the media and a few record labels, he naturally returned to a more pop-oriented style, with a touch of rock, like the bands he was a fan of.

On his return to France, Blowsom made his mark with a few tracks compiled into a debut full-length album, ‘OK Romance!’, in English. Having achieved critical acclaim, he developed a taste for the process and very quickly, the need to reconnect with his mother tongue became apparent.

He then found a new lease of life in French, and his tracks – which he began releasing in 2025 – took on a whole new dimension, as exemplified by his track ‘Les Passantes’, which quickly reached one million streams.

At that time, working entirely independently, Blowsom composed, produced and mixed his own tracks. Without a booking agent, he announced a Paris gig at Le Point Éphémère, which sold out within 24 hours. Buoyed by the enthusiasm of his community, he decided to think bigger and announced a concert at La Cigale, his biggest venue to date. He also set out to meet his audience on his first mini-tour, visiting Lyon, Lille and Brussels.

Buoyed by this fresh start, he built a support network and chose Panenka Music and Zouave to support him as he moved forward in his career, notably with the release of his first French-language EP, ‘Les Passantes’.

With indie pop tinged with rock and catchy melodies, Blowsom speaks candidly on the EP about his past relationships, the difficulties of falling in love again and fragile hopes. He paints a portrait of a generation whose patience in love seems to be crumbling, where immediacy appears to take precedence over commitment.