NAALA: “À toutes celles,” A Song Against Domestic Violence

With “À toutes celles” (“To All Those Women”), Chilean-rooted singer NAALA delivers a piano-driven ballad addressing domestic violence and the difficult journey from emotional abuse to recovery. Composed by Rémy Encelle, the song moves between vulnerability and vocal intensity, reflecting the emotional struggle of someone reclaiming control over her life. Behind the release stands a multidisciplinary artist whose work across music, theatre, acting, and voice-over performance is guided by one conviction: a voice can be a powerful instrument of expression, healing, and resistance.

“À toutes celles”: Giving Voice to the Experience of Abuse

“An abusive love isn’t love; it’s a cage that keeps changing its story.”

This line from “À toutes celles” captures the central idea behind NAALA’s latest single. Rather than focusing exclusively on the physical manifestations of domestic violence, the song explores the psychological mechanisms that can keep someone trapped in an abusive relationship.

The metaphor of a cage that changes its narrative reflects the contradictions of emotional manipulation: promises followed by threats, affection mixed with fear, and the gradual erosion of self-confidence.

NAALA, whose real name is Jennifer Megank, approaches the subject through the perspective of a woman experiencing domestic abuse. Her lyrics evoke isolation, confusion, silence, and the struggle to recognise that a relationship has become destructive.

The song is intended as a message of solidarity for women who have experienced violence, as well as those who may still be living through it.

For NAALA, the subject is deeply personal.

The artist has spoken openly about her own experiences of domestic and family violence. Through music, she seeks to transform memories and emotions that were once difficult to articulate into something that may resonate with others.

Rather than presenting herself as a spokesperson for every survivor, she uses her own perspective to create a space where listeners may recognise parts of their own experiences.

Rémy Encelle: A Piano Composition Built Around the Voice

One of the defining features of “À toutes celles” is its restrained musical arrangement.

The track was composed by Rémy Encelle, an artist whose work extends beyond composition but whose broader career remains relatively undocumented in publicly available sources.

Built around piano and vocals, the production deliberately avoids excessive instrumentation, allowing NAALA’s interpretation to remain at the centre of the song.

The arrangement develops through contrasting emotional passages.

Some sections are intimate and understated, almost fragile, while others introduce a much stronger vocal delivery.

These shifts are more than stylistic choices. They mirror the emotional progression of the narrative.

The softer passages evoke distress, exhaustion, and isolation. As the vocal performance grows in intensity, the atmosphere changes, suggesting a movement away from resignation towards defiance.

In this sense, the song’s musical structure becomes an allegory for the internal journey of someone attempting to escape an abusive relationship.

It does not suggest that recovery is immediate or straightforward. Instead, it captures the moment when silence begins to give way to expression.

The tension between vulnerability and determination is where NAALA’s performance finds much of its emotional strength.

A Personal History That Shapes Her Songwriting

Born Jennifer Megank, NAALA is an artist of Chilean origin whose creative path spans several disciplines.

Her songwriting is closely connected to experiences that have shaped her life.

She has spoken about growing up in a difficult family environment, experiencing bullying at school, and surviving domestic and intrafamily violence. She has also described serious health challenges, including tuberculosis.

These experiences do not define the entirety of her artistic identity, but they help explain why themes such as loneliness, resilience, and rebuilding one’s life appear throughout her music.

“À toutes celles” continues an approach already explored in “La Révérence,” a song she co-wrote with Nina Hulm about domestic violence.

For that earlier release, the two artists drew inspiration from personal experiences and fragments of testimonies. The song was also accompanied by a music video.

Both projects reflect a similar ambition: using music to bring experiences often confined to private life into a shared public conversation.

NAALA does not simply want listeners to hear her story. She hopes her songs can offer recognition and emotional support to people facing similar circumstances.

This gives her work a purpose that extends beyond autobiography.

From Music to Theatre: Exploring the Possibilities of the Human Voice

Although “À toutes celles” currently occupies a central place in her musical journey, NAALA’s creative activities extend well beyond singing.

She is also involved in theatre, acting, and voice-over performance, disciplines that allow her to explore different forms of storytelling.

According to her biography, her acting experience includes an early on-camera role in “La Danse interdite,” work as a scare actor at Walibi, and appearances in productions such as “Les Parfait(s),” “Berlin Berlin,” and the horror short film “Délivrance.”

She also reports having lent her voice to characters in animation-related projects including “MysterioKid,” “Dépravé,” “Castle Swimmer,” and “Forbach.”

Although these activities may seem separate from her music, they share a common foundation: the ability to communicate emotion through performance.

Whether interpreting a song or giving life to a fictional character, NAALA approaches the voice as a dramatic instrument.

This perspective also informs her position on artificial intelligence.

The artist supports the protection of human voice actors and identifies with the concerns raised by “Touche pas ma VF,” a movement defending voice-over and dubbing professionals in the face of AI-generated performances.

For NAALA, a voice is not simply an audio file that can be reproduced. It carries artistic intention, emotional nuance, and the interpretive choices of a performer.

That belief is particularly relevant to “À toutes celles,” where vocal expression plays a central role in communicating the song’s meaning.

From The Voice Belgium to an Independent Artistic Path

NAALA’s career has also included an experience with The Voice Belgium.

According to the singer, she was discovered on Instagram by someone connected to the programme and reached the blind audition stage.

She later decided to withdraw from the experience for personal reasons, at a time when her priorities and motivation had changed.

Rather than defining her career through this television appearance, NAALA considers it one stage in a longer artistic journey.

She has also performed at Pontageek, marking her first singing experience within the convention circuit, and continues to develop live projects with Matthieu, her artistic partner.

Alongside their work as a duo, she is now seeking to establish a stronger solo identity through performances built around her own original material.

NAALA also states that she is currently included among the artists associated with Bruno Berbères, a professional known for his work in musical casting.

Together, these experiences reflect an artist developing her career across different creative environments rather than following a single conventional route.

“Harmonies d’Émotions”: An Artistic Identity Beyond Trauma

NAALA’s wider project, “Harmonies d’Émotions” (“Harmonies of Emotions”), reflects her ambition to explore a broader emotional spectrum.

Although domestic violence and personal recovery are important themes in her songwriting, she also wants to address love, joy, anger, hope, and more uplifting experiences.

Her personal history includes a significant musical collaboration with Bigraz, an artist she considered a brother and who has since passed away.

The two worked together on “On met le feu,” a song that remains particularly meaningful to her.

NAALA explains that she promised Bigraz she would continue creating music and pursuing her ambitions.

She sees that promise as one of the driving forces behind her current artistic development.

Through social media, particularly her Instagram account @naala_officiel, she maintains a direct relationship with her audience.

She says that she currently donates 10% of the proceeds from her daily livestreams to Think Pink, an organisation involved in breast cancer awareness and support.

This commitment follows earlier volunteering experiences, including work in hospitals, which she describes as particularly influential in shaping her relationship with others.

Beyond Testimony: Building an Artistic Identity

With “À toutes celles,” NAALA delivers a song whose impact comes from the combination of a socially significant subject, personal songwriting, and an expressive vocal performance.

Rémy Encelle’s piano composition leaves room for the singer’s interpretation, while the shifts between restraint and intensity mirror the movement from emotional distress towards self-assertion.

The track belongs to a tradition of songs addressing domestic violence through intimate storytelling, while seeking to reach listeners beyond those directly affected by the subject.

However, NAALA’s longer-term artistic development will also depend on her ability to establish an identity that extends beyond her personal experiences.

Her background in theatre, dubbing, and live performance provides several possibilities for expanding that creative universe.

The upcoming releases associated with “Harmonies d’Émotions” may reveal other sides of her musical personality, from introspective ballads to more energetic collaborations.

Ultimately, “À toutes celles” is more than a song about surviving abuse.

It is also about the moment when an artist decides that her past will no longer speak on her behalf.

Instead, she chooses to speak for herself — and to turn that voice into a form of creation.