In this interview, Giel Baggen reflects on Echoes In The Hall, discussing elderly care, silence, self-production, and the belief that music can honor overlooked lives through subtle, honest storytelling sound.
1. “Echoes In The Hall” explores elderly care, a topic rarely addressed in music. What first moved you to turn this subject into a song?
The spark came from silence, actually. Visiting places where time feels slower, where voices fade into hallways, I realized how many stories are left unheard. Elderly care is full of emotion, memory, loss, and love — yet it’s rarely translated into music. That realization stayed with me, and “Echoes In The Hall” became a way to give those quiet moments a voice.
2. You often say “Music Is More Than Just Music.” How did this philosophy guide the lyrics and emotional tone of this release?
For me, music has always been a carrier of meaning, not just sound. That belief shaped everything about this song — from the restrained lyrics to the fragile atmosphere. I didn’t want to dramatize the subject, but to respect it. The emotional tone is intentionally subtle, because sometimes the strongest emotions live between the lines.
3. The song was 100% self-recorded. What challenges and freedoms came with handling every part of the production yourself?
Doing everything myself was both confronting and liberating. The challenge was obvious: no safety net, no external confirmation, just me and the process. But the freedom outweighed that. I could follow instinct instead of trends, emotion instead of perfection. Every imperfection in the track is honest — and that honesty was essential for this song.
4. Your storytelling style leaves space for listeners to find their own meaning. How do you balance personal intention with open interpretation?
I start with a very personal core, but I deliberately avoid explaining everything. I believe listeners connect deeper when they can place their own experiences into a song. My role is to open a door, not to tell them what they should feel once they walk through it.
5. Performing at Pop On Top Valkenburg 2025, how do you expect this song to translate in a live setting compared to the studio version?
Because the song hasn’t been performed live yet, I see it almost as an open space rather than a fixed arrangement. The studio version is intimate and controlled, but live it will likely become more raw and vulnerable. I imagine stripping it back even further — letting silence, breathing, and small imperfections play a role. When it eventually reaches the stage, I don’t want it to feel like a recreation of the recording, but like the song is being experienced for the first time, together with the audience.
6. With “Echoes In The Hall” marking a meaningful comeback, what do you hope listeners take with them after hearing this song for the first time?
I hope listeners leave with a sense of awareness. Not sadness, but recognition. Recognition of time, of people we sometimes forget, and of emotions we don’t always name. If the song lingers — even quietly — then it has done what it was meant to do.
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