Born in 1998, from an Italian mother and a Scottish father, in 2003 he had the chance to see and admire, for the very first time, the diatonic accordion. 

On experiencing the world of Balfolk at the age 11, and through a continuous search for better knowledge of his instrument, he started a series of musical experiences and workshops that have become, more and more, part of his life. 

Partly tutored and partly self-learned on the accordion, what is gradually bringing to life his own style is travelling, dancing and playing in festivals across Europe, collecting repertoire and being influenced by other musicians (among which you can find Bruno Le Tron, Toon Van Mierlo, Simone Bottasso, Wim Claeys).

He enjoys playing wherever his passion takes him, along with his own projects — at present, solo and with Magma and Kola Camoma, both Balfolk duos. 

He plays a 1999 G/C François Heim keyboard Castagnari Handry 18. 

Balfolk established itself in the 1970s, as a macro-genre in identifying multiple French dance repertoires. Multiple researches, from region to region, directly from what remained of the oral, written, and dance tradition, brought back to life a repertoire that is partly strictly traditional and partly not — either remaining tied to a specific region, or gradually becoming universal within a community.

Once the phenomenon spread to the neighbouring countries, dancers and musicians from all over Europe began to travel to connect directly with the Balfolk scene at its source. Gradually, the festivals got bigger and people often became attached to a region, specialising in its repertoire, to then perhaps move on and explore other ones. 

Inspired by both tradition and one’s experience from their "native" or "cross-genre" musical styles, it can be varied in its arrangements, but what one should bare in mind is that it's a repertoire that has to mantain a connection with its own roots.