The Bateleurs are a Blues/Rock band based in Lisbon, Portugal; their debut Video EP, The Immanent Fire, was released digitally in October 2018. Strongly influenced by the great icons of the British and American rock with blues roots from the early seventies, with a modern and regional twist that adds flavor to a style always ripe for new approaches. After a run of shows in their country in 2019, they started collaborating with the LeStrato Rock booking agency, and since been touring Spain regularly. Their debut LP, The Sun in the Tenth House, was released by Spanish label MilanaMúsica in May 2022. The record was mastered at Infrasonic Sound, Nashville TN (Rival Sons, Chris Stapleton) by the acclaimed engineer David Gardner. The end of 2023 saw the release of the 2020 VC Sessions, a live multimedia album recorded during the pandemic at the Valentim de Carvalho Studios (Former EMI).
The second album, A Light in the Darkness, released on October 1st 2025, with the seal of Discos Macarras Records, from Catalonia, Spain. Produced by the band and mixed by bassist Ricardo Dikk, top notch engineers were brought to precisely capture the full potential of the songs, and every track was recorded without the use of modern correction technology; no digital quantization, no autotune, no extensive editing, just raw and high energy performances by the band members.
With A Light in the Darkness out now, we took some time to hear from The Bateleurs. Read below to learn more about The Bateleurs, the story behind A Light in the Darkness, and what’s to come.
Hi! Let’s start with how did the band’s name come about?
Hi! We did a great deal of research trying to find the perfect name for our band. We were into some esoteric and mystic ideas, and we found the Tarot card The Juggler, that symbolizes a lot of what we think of ourselves. The idea of the wanderer, the gypsy, the performer really resonates with us. The original name on the card in the French Marseille Tarot is Le Bateleur, and that’s how we find the perfect name. Also, it’s the name of a South African bird of prey, which adds another layer of significance, and justify the presence of the two falcons on our Logo.
What city are you all from, and where are you all based now?
We’re all from and live in the Lisbon area, Portugal, the European California.
How and when did the band form?
It all started when I (Ricardo Dikk, bass) met Sandrine (Orsini, vocals) on the studio sessions we were doing for a production that I was in charge of. We found out we had a lot of musical affinity, and we’re looking for the same goals in our careers, so we got together and started writing some songs. Later, I invited my good and old friend Rui Reis to play the drums with us, and the rest is history.
How would you all describe your band’s sound to readers who may not be familiar with you all?
Our main influences are the Rock bands from the 70s; it’s the music that I listen to since I was very young, and the one that has always been a constant throughout my life. We all love Zeppelin, Purple and all the great icons of the golden era, but also some modern ones like Black Crowes and similar. We also listen to a lot of blues, from the traditional to the contemporary. Also, Sandrine comes from a background of Soul, Jazz, and R&B, and she incorporates those influences into our sound. We also have to mention that we are not from Britain or the US, and there are some ethnic influences from our cultural background. Our traditional music is heavily influenced by the Arabic and Celtic culture, so it’s unavoidable that some of it transpires into our sound.
Who are some of your group’s main musical influences?
As stated earlier, Led Zeppelin, Deep Purple, Janis Joplin. More modern, The Black Crowes and Rival Sons.
What’s one of the proudest moments of your band’s music career so far?
Fortunately, we had a lot of joy through this journey, but we have to highlight the latest record release party. We did a show at one of the most iconic venues of our city and we invited a lot of friends to play with us. We had a 9-piece band on stage, with Hammond Organ, backing vocals, additional guitar, and we could do live a lot of arrangements that usually are impossible because. The room was packed, and we had a night to remember.
What would you all say are the greatest lessons that you’ve all learned so far?
The main lesson is the following: a band has to play live to grow, but that’s not the reason to accept all the opportunities. Sometimes there are gigs that do worse for you, be it because of poor technical conditions, bad financial deals, or simply because the bill is not a good fit. You have to try and be really aware of what you’re planning to achieve, and sometimes have to decide that the better option is to stay at home.
Now onto A Light in the Darkness. What inspired this album?
This record was inspired by our experiences in the past years. We were extremely conditioned by the pandemic; it delayed everything for us. Our first record, the touring, all was put on hold for 2 years, and as soon as we could, we started to make up for the lost time. Unfortunately, after a huge boost in 2022, things were difficult for us the next year. We couldn’t seem to find the time between us all to work on the new record, and we were extremely demoralized. At last, we could overcome all these difficulties, and in later 2024 we managed to get our act together and start working on A Light In The Darkness. The record reflects this journey and celebrates the fact that we’re back stronger than ever.
What is the overall theme of A Light in the Darkness?
We have to say that it is a collection of stories that depict the process of overcoming the difficulties of life. Sometimes we find ourselves in a dark place, and the ways of getting out are not always evident. It’s different with everybody, there’s no magic formula, but if you try hard enough and have faith in yourself, almost everything can be dealt with, except probably death and taxes.
What was the creative process like when making A Light in the Darkness?
All the songs start with me and Sandrine tackling ideas, and we do some demos at home. We’ve written almost 30 songs for this record, and chose 10 to record. We feel that this way we can assure that our very best output will be presented to the audience. Afterwards, we work in rehearsals with Rui and Galrão to refine structures and arrangements, then off to the studio to track the final versions.
How long did it take to complete A Light in the Darkness?
Rehearsals were had in November and December, and the final tracking sessions, mixing and mastering in January and February 2025.
Is there a specific song on A Light in the Darkness that speaks to you all the most? If so, what is it called, and what is it about?
Our favorite track is “The Lighthouse.” It’s a monster of a song with over 7 minutes, and it was an aesthetic and artistic exercise for us, where we tried to combine a lot of elements with the goal to achieve an extremely dynamic song structure, and a truly epic sound. It’s about the fact that sometimes you can be an inspiration for someone who needs guidance; you can give advice, help, or sometimes just be there and listen, and with this be a beacon that guides to a safe harbor.
What was the inspiration behind the cover artwork for A Light in the Darkness?
We always were into esoteric and pagan philosophy and imagery, and we wanted to explore the idea of the three-faced god; Hecate in Greek and early Middle Eastern religion. It depicts the maiden, the mother, and the crone, the three stages of a woman’s life, and it’s a guardian of magic and the crossroads. All these concepts were brought to life by the amazing Vasco Duarte, a local illustrator with enormous talent.
What message or messages do you hope fans take away from A Light in the Darkness and your band’s music in general?
On this record, we really tried to convey the idea that, no matter the odds, you can always find a way out of a dark place. After a cold dark night there’s always a sunrise, after the worst of the storm the sun always shines again. It’s different for everyone, but there’s always a way. Sometimes easy, almost every time hard, but it’s there for you to grab, if you believe hard enough. This was a cathartic experience to us, and hopefully we can help others to overcome their issues. If only one person finds solace listening to our music, it’s been worthwhile.
What’s next for you all? Are you all working on any upcoming projects, or do you all have any upcoming shows that we should be on the lookout for?
As we speak, we’re preparing for two festivals on the 28th and 29th, together with other amazing local bands, and already have gigs booked for next year in Portugal and Spain. We’re working with various agents to expand our touring to other European countries. Also, the writing process of the next album has already begun.
Where can we follow you all on social media?
https://www.facebook.com/TheBateleursBand
https://www.instagram.com/thebateleurs
https://www.youtube.com/c/TheBateleursBand
https://twitter.com/TBateleurs
https://thebateleurs.bandcamp.com
https://open.spotify.com/artist/4UmCVMGQSPE1S9h5WPsFGu
https://music.apple.com/in/artist/the-bateleurs/1438689543
https://linktr.ee/The.bateleurs.band
Do you all have any parting words or messages?
A couple of thoughts about playing music and having a band in our current times: we are incredibly fortunate to have fans that throughout the years supported our project and believe we are needed in the Blues/Rock scene. They buy concert tickets, CDs, vinyl records, merchandise and for that reason alone we are able to keep this engine growing in a sustainable manner. Our message to all is to support bands buy physical formats and attend the gigs; streaming is a scam to musicians and listeners. It devalues art and makes the money flow in the direction of those that already have a lot of it. It’s a good way to discover new bands, but if you like them and want to support them, stop by their Bandcamp or website and get the physical formats; there’s nothing better sounding than a vinyl record. Also, avoid everything that’s made with AI. This technology is being used in various nefarious ways, and the art community is suffering the most. Demand real people making real art, otherwise we’ll be heading straight to our demise.
Thank you all for the great interview; wish you all much continued success!
