Discovery writing is easiest after consensus. The more useful moment comes earlier: when an artist’s language has become recognisable, but has not yet settled into a formula. That is where Gisèle stands now. Her electronic pop already has recurring motifs — intimacy, nostalgia, metamorphosis, a long braid that has become a visual signature — yet it still feels open to movement.
Editorial note. ONES TO WATCH is an independent selection by the editors of oui stars Travel. This profile was not commissioned, approved or sponsored by Gisèle, Nébuleuse Records, Le MILA or MaMA Music & Convention.
First, the right Gisèle
Gisèle is a French singer-songwriter from Anet in the Eure-et-Loir department, working with Nébuleuse Records. She releases music under this stage name alone. No verified official source we found gives a full civil identity, so we do not supply one.
The distinction matters because music platforms sometimes merge artists who share a name. The Gisèle in this article is not the Belgian, English-language indie-pop singer associated with songs such as Too Much Love To Give and Bad News. We have also excluded releases and concert dates that could not be tied to the French artist through Nébuleuse Records, her official channels or a clearly attributable editorial source.
A voice comes into focus
The first firm public marker is C’est plus pareil, self-released in September 2022 with a video directed by Laureen Burton. It already establishes a principle that continues through Gisèle’s work: vulnerability is not treated as spectacle. It becomes a place from which a story can be told.
In March 2023, she joined nash on pihis, from the album heure bleue. The appearance proved more than a passing feature. Nash would return in Gisèle’s catalogue and later help shape the visual world of Demain. That continuity gives the project the character of an evolving creative circle rather than a sequence of disconnected singles.
With Bord de mer, released by Nébuleuse Records in October 2023, followed by Tempête and Tes mains in early 2024, the contours sharpen. French songwriting meets contemporary electronic production: sometimes weightless, sometimes driven by a firmer pulse. Gisèle keeps the vocal close and unforced. Emotional exactness matters more here than vocal display.
Hydre: three selves, one shelter
Released in spring 2024, Hydre is the first extended work through which Gisèle’s writing can be read as a whole. Streaming services classify it as a ten-track album; professional and editorial introductions have also called it her debut EP. The terminology varies, but the work itself is clear: 29 minutes shaped as a complete emotional sequence.
Avant propos and Intro lead into the previously released Bord de mer, Tempête and Tes mains, then Mésentente, Mauve, Douleur featuring nash, Encore je l’aime and Au revoir with Reyan Restani. The documented subjects are difficult ones — school bullying, family conflict and romantic disillusionment — but the record never mistakes darkness for depth. Its strength lies in giving hurt a direction.
The hydra is an apt organising image: several heads, several survival instincts. Material published around the project describes three aspects of the singer — the wound, the dreamer and the shield. Musically, those selves appear in the movement between confession, imaginative escape and regained control. Nostalgia is not a decorative filter; it acts as a compass and, at times, as temporary shelter.
After the monster, a garden
Encore un peu arrived in September 2024, extending this period without merely repeating it. In 2025, Amina and La lune se lève introduced Antheia, a concise project completed by Ma peine and À d’autres. An expanded edition, Antheia +, later added the bonus track Trop tard.
Antheia is associated in Greek tradition with flowers and blossoming. The move from a hydra to a garden can be read — this is our editorial interpretation, not a statement attributed to Gisèle — as a shift from defence towards growth. The mythic vocabulary remains, while the visual atmosphere becomes lighter. The songs gain immediacy without abandoning introspection.
This chapter confirms an important distinction: Gisèle’s coherence is not only sonic. Song titles, portraits, colour, styling and recurring symbols speak to one another. The exceptionally long braid seen in her images and on stage is instantly recognisable, but its effect goes beyond branding. It gives a faintly legendary outline to songs rooted in ordinary and very human emotions.
The 2026 turn
Gisèle reunited with nash for 2 secondes in March 2026. A month later came Demain, accompanied by a video filmed during a trip with friends in Mexico. Official video credits name nash and Gisèle as directors and editors. Its visual texture is closer to a collection of memories than to a conventional performance clip: bright daylight, spontaneous gestures, fragments of people being present with one another.
That decision suits a song about postponement. Demain does not manufacture importance through a grand setting. Instead, it notices the very human habit of deferring what matters. The tension comes from the contrast between sunlit images and a subject shaped by unease.
Hanayama, released by Nébuleuse Records in June 2026, is the latest solo title we could verify at the time of writing. With no detailed, attributable artist commentary available, we will not impose a narrative upon it. What can be heard is an artist retaining her care for detail while allowing the production to expand.
Six tracks with which to begin
pihis — with nash (2023)
The entry point for understanding a lasting creative connection. Gisèle’s voice inhabits a muted, nocturnal setting that already points towards the sensibility of her later work.
Bord de mer (2023)
A hinge in the catalogue: inner landscape and physical scenery begin to merge. The song establishes the palette of Hydre without revealing all of its tension.
Tes mains (2024)
Concentrated writing and an immediately legible melody. It shows how Gisèle preserves delicacy even when the arrangement opens out around her.
Amina (2025)
The threshold of Antheia. More direct in shape, it retains the combination of pop clarity and held-back melancholy that defines much of her work.
Demain (2026)
Best encountered with its official video. Together, song and images form a small essay on emotional procrastination, friendship and the time we assume can always be recovered.
Hanayama (2026)
The newest chapter — useful not as a conclusion, but as evidence of a production style that is still moving.
What the numbers do — and do not — tell us
When checked on 13 September 2026, Gisèle’s official Spotify page displayed roughly 156,000 monthly listeners. Amina had passed one million streams and Tes mains was approaching 900,000. Her public TikTok profile showed just over 31,000 followers and around 1.2 million cumulative likes.
These figures are volatile and must be checked again immediately before publication. They are neither a ranking nor proof of artistic value. They tell us something narrower: the project has already found a measurable audience while its wider editorial profile remains open enough for genuine discovery.
The exact MaMAMILA connection
On 15 October 2026, Gisèle is listed for the professional MaMAMILA! showcase during MaMA Music & Convention. The event runs from noon to 2pm at Backstage By The Mill, 92 bis boulevard de Clichy in Paris’s 18th arrondissement, and also features Dernier Motel and TH/S /S SH/T. Admission is restricted to accredited professionals. No individual performance time or running order has been published, so none should be inferred.
The relationship needs precise wording. Le MILA is not presented as Gisèle’s label or management. Nébuleuse Records, the label working with her, appears in Le MILA’s current member community. The showcase is co-organised with member organisations including Nébuleuse Records and Upton Park. That is the documented professional connection that places Gisèle within MaMAMILA.
The appearance comes at a meaningful point: after two shaped bodies of work, recurring collaborations and a run of new 2026 releases, but before a fixed story has closed around her. In practical terms, MaMA offers a chance to see what happens when this intimate world is required to travel at stage scale.
Why oui stars Travel is watching
We are not calling Gisèle “the next star.” The phrase too often replaces listening with prediction. Our choice rests on more useful evidence.
First, writing that links specific experiences to accessible forms without flattening them. Second, a visual language built with continuity rather than attached as an afterthought. Third, a career that advances by chapters: each release picks up a motif, alters it and leaves a door open for what follows.
Questions remain, and that is precisely what makes this stage worth observing. How far will Gisèle press the tension between chanson and electronic music? What happens when her writing steps, even briefly, outside nostalgia’s shelter? How will live performance reshape songs designed around proximity?
ONES TO WATCH does not hand out crowns. It listens when an artist’s language is clear enough to deserve attention and still free enough to surprise. With Gisèle, that possibility is not a forecast. It is already present in the care with which she is building a world.
Practical information
MaMAMILA! — professional showcase
Thursday 15 October 2026, 12 noon–2pm
Backstage By The Mill, 92 bis boulevard de Clichy, 75018 Paris
Accredited MaMA Music & Convention professionals only
Programme and access conditions to be rechecked before publication.
Follow: Instagram · TikTok · YouTube · Spotify
Principal sources
- MaMA Music & Convention — 2026 music schedule
- Le MILA — current community
- Nébuleuse Records — catalogue
- Conscienxious — feature on Hydre
- Aficia — Demain
- Théâtre des Vents — 2026 Avignon listing
Editorial verification: 13 September 2026. Schedule, access conditions, streaming figures and programme information must be checked again immediately before publication.
