Juliette Nourredine was born in Paris on 25 September 1962. However, the singer traces her family tree back to Algeria. (Her grandfather was born in Kabylia but came to France in the 1920's). Juliette owes her musical influences to the male side of her family - her father, Jacques, is a talented saxophonist who plays with the famous Orchestre du Capitole in Toulouse, where the young Juliette lives from her 13 on.

Thanks to her father and her Algerian roots, Juliette grew up surrounded by an amazing diversity of musical influences, listening to jazz and classical music as well as developing an interest in traditional Arab music and French chanson. After being educated at the local convent up until her teens, the musically minded youngster went on to study literature and musicology (although she did not complete a degree in either subject).

Juliette made her stage debut at the age of 18, singing in local bars and restaurants of Toulouse and accompanying herself on the piano. Her repertoire in those early days was already heavily influenced by chanson réaliste from the 30's. Naturally ebullient and full of humour, Juliette proved to be a natural on stage, striking up an immediate rapport with her audience. In 1985 the young singer got her first major break when she was invited to perform at the prestigious Festival de Bourges. Needless to say, Juliette brought the house down when she opened the 'Découvertes' (New Talent) section with a lively and amusing set. Indeed, the up-and-coming star proved such a hit that she was invited back to perform at the festival the following year.

Juliette soon began to build up a strong following of fans, thanks to her impressive live performances. By this stage of her career, the young singer was spending much of her time touring and appearing at festivals. In 1990 Juliette flew out to Germany to perform a series of concerts and later that year she would also support the French star Jean Guidoni on tour. This proved to be an important moment in the young singer's burgeoning career. In fact, Juliette had long been a fan of Guidoni's moody chanson style and she jumped at the chance of performing with him. Supporting Guidoni also proved to have an added bonus - Juliette not only gained recognition from the critics, she also got to meet the renowned French songwriter Pierre Philippe (who had been working with Guidoni since the early 80's).

By 1991 Juliette was ready to record her debut album "Que tàl?". The album, which was recorded live at one of Juliette's concerts, captured the vibrant atmosphere of the singer's stage shows perfectly. On "Que tàl?" the singer talks her audience through her songs, keeping up a bantering dialogue with her fans right up to the end of the concert. Juliette had already started working with Pierre Philippe by this stage of her career, but only one of Philippe's compositions appears on the album (the Guidoni classic "Lames" which Juliette chose to open her concert). Other outstanding tracks on the album included musical versions of poems by Norge and a highly innovative cover of the Piaf classic "l'Homme à la moto."

By 1992 Juliette's career was really taking off in style. Indeed, the young singer attracted an impressive number of fans when she performed at the 'Théâtre de 10 heures' in Paris (for an entire month!) In 1993 Juliette went into the studio to begin work on her second album, "Irrésistible". It was on this album that Juliette's collaboration with Pierre Philippe came to the fore, the pair of them co-writing all the material for "Irrésistible". In November of that year Juliette flew out to Canada to perform at the famous Francofolies festival in Montreal. In July '94 she would reappear at the French version of the Francofolies, delighting the audience in la Rochelle with a selection of her new songs. Juliette's busy tour schedule continued in October with a successful run at the Théâtre de la Ville in Paris. But the highlight of Juliette's career that year was undoubtedly when she won the prestigious 'Prix Charles Cros' for her album "Irrésistible".

Juliette was back on stage in December, performing a three-week run at another Paris venue, l'Auditorium des Halles. The singer performed a grand finale at the Auditorium on 31 December 1994, which was greeted by thunderous applause from the audience of New Year's Eve revellers. (The ambience of this truly exceptional concert was captured on Juliette's second live album "Juliette chante aux Halles", released in 1995).

Juliette returned to the recording studio in 1996, setting to work on a new album entitled "Rimes féminines". This album paid tribute to all the famous women who had inspired Juliette (from writers Anaïs Nin and Colette to Louise Michel and the 19th-century French sculptress Camille Claudel). The lyrics for this new album were once again penned in collaboration with Pierre Philippe. Juliette performed a selection of songs from her new album when she appeared at the Cité de la Musique in Paris on 13 and 14 April. Her performance was rendered even more flamboyant than usual, thanks to the presence of the Orchestre des Hauts de Seine.

Juliette ended 1996 on a triumphant note, bringing the house down in Paris at the Auditorium St Germain. The singer then embarked upon a major tour, playing dates across France, Germany and Canada. In 1997 Juliette went on to triumph at the 'Victoires de la musique' awards, carrying off the award for Best Newcomer of the Year (which was more than a little ironic as Juliette had launched her career a full seventeen years ago!) Still, Juliette accepted the award with good grace.

Then, at the end of the year, the singer received a special honour when she was invited to perform at the Salle Gaveau (a prestigious Paris venue usually reserved for classical music). Juliette attracted record audiences at the Salle Gaveau (18 - 31 December), performing on stage at her piano opposite a second pianist, Didier Gorot. Needless to say, Juliette brought the house down with a repertoire, which included a whole series of covers of chanson classics (from Fréhel, Léo Ferré and Jean Guidoni to Catherine Sauvage and Jacques Brel). The ambience of this concert was captured on Juliette's new live album "Deux pianos" (released in the spring of '98).

In 1998 Juliette returned to the studio to record two new songs which were featured on a special children's compilation "La Comptine à titine" (The lyrics on the album were written by Pierre Delanoë, the music by Gérard Calvi). Later that year the singer would return to the media spotlight with a brand new studio album entitled "Assassins sans couteaux" (Murderers Without Knives). This album marked a temporary break with Juliette's faithful songwriting partner Pierre Philippe, as the singer brought a number of new songwriting talents (such as Bernard Joyet and Franck Giroud) on board. The musical arrangements were left in the capable hands of François Rauber. The album received a series of rave reviews from the critics, who praised Juliette's sharp sense of humour, her exuberant style and her ability to conjure up real portraits in her songs.

In February of this year Juliette reached the zenith of her career, performing at the legendary Olympia in Paris (9-14 February). While the plump, bespectacled figure in her décolleté remains strikingly different from the rest of the crowd, she has undoubtedly earned her place as one of the leading female artists on the French music scene.

The following year, Juliette chose to break new ground and gave a literary reading. She performed in the arms room of the Conciergerie (the Parisian historical goal where Marie-Antoinette was imprisoned before she was decapitated during the French Revolution). She matched the content of her show with this historical setting, choosing texts amongst fabliaux and medieval tales which often contained strong erotic connotations.

Immediately following her theatrical debut, Juliette went on with her acting experiences taking up a role for the cinema. The singer, endowed with a platinum blond head of hair dyed for the occasion, will be seen in Delphine Geize’s "Carnages".

On January 29th 2002, Juliette released a new album. Entitled "Le Festin" ("Food feast"), the album reached number 21st on the Top Albums Chart as soon as it was released. This came up as a nice surprise for an artist with Juliette’s reputation for being atypical and refusing to conform to commercial demands, even if it might have been helped by the promotional power of her new label, Polydor--Polydor belongs to Universal, which is today’s most influent record company.

Each of the eleven tracks on the album proves nevertheless that Juliette has not lost an inch of her flamboyant personality and is not willing yet to fit in the commercial mould. On the contrary, her songs are both long and generous. Feeding as ever on her humour and her Epicurean sense for pleasure, she penned most of the songs, with or without the collaboration of her faithful friend, Bernard Joyet.

At the onset of February, Juliette embarked on a promotional tour that ended on March 24th under the limelight of the Casino de Paris in the French capital.

Juliette spent the summer on the road, performing a series of concerts and putting in appearances at Les Francofolies in La Rochelle and the Festival de Lormes where she got an extremely enthusiastic reception from the crowd. The only cloud on the Toulousan singer's horizon occurred in August when she split from Mysiane Alès, her producer of thirteen years.

In September 2004, Juliette made her debut on the French airwaves, presenting her own show, "Juliette ou la clé des sons", on the radio station France Musiques. Every Saturday and Sunday afternoon, the singer treated listeners to a selection of her musical favourites, sharing her record collection with fans.

Juliette hit the road again in 2005, kicking off  her "Deux pianos" tour on 6 January. On 11 and 12 May, she brought the house down when she performed at Le Grand Rex in Paris. The magical atmosphere of the show was captured live on the DVD "Fantaisie Héroïque : live au Grand Rex" (released in October of that year).

Meanwhile, Juliette had made a welcome comeback on the recording front on 10 January 2005. Her new album, entitled "Mutatis Mutandis", featured guest appearances by French actors François Morel and Guillaume Depardieu. Apart from the musical adaptation of a Baudelaire poem ("Franciscae meae Landes"), Juliette  penned all the lyrics for the new album herself, which was a first in her career. "Mutatis Mutandis", liberally flavoured with samba, flamenco and vibrant Arab-Andalusian sounds, proved to be the best-selling album of Juliette's career to date. (In 2006, the album went on to win her a coveted "Victoire de la Musique" award in the "Best Female Artist of the Year" category). Juliette also added to her awards collection in February 2005 when Catherine Trautmann, the French Culture Minister, made her a "Chevalier de l'Ordre des Arts et des Lettres."

In April 2005, Juliette headed off to Canada for a special event, performing at the Grand Théâtre de Québec accompanied by the Quebec Symphony Orchestra  (1 & 2 April). Despite her hectic concert schedule, the singer also managed to find time to write a quirky novel-cum-autobiography entitled "Mensonges et autres confidences" (Lies And Other Confidences) published on 23 September. A few days after the publication, Juliette performed two shows at the legendary Olympia, in Paris, playing to a packed house on both occasions (5 & 6 November 2005).

Juliette hit the road again in March 2006, touring extensively across France. After putting in a superb performance at the Printemps de Bourges festival on 27 April, she appeared at the Francofolies music festival in La Rochelle in July. 

On 5 April 2007, Juliette, who was already busy writing material for her next album, took to the stage for a special fund-raising concert at the Théâtre du Châtelet, in Paris. The singer performed alone on stage on this occasion, accompanying herself on piano. All proceeds were donated to La Chaîne de l’Espoir (a French organisation providing free medical care for children).

Juliette took the time to concoct her next album, "Bijoux et babioles", in the peace and quiet of the French countryside. The singer’s new album, released in February 2008, was inspired by childhood memories of crawling round the cabaret stage where her father worked as a musician, picking up the beads that had fallen off the showgirls’ costumes the night before. "Bijoux et babioles" featured a dozen songs, which alternated between the comic and the poetic, for which Juliette herself wrote all the music, lyrics and arrangements. The album also included a cover of Pierre Dac’s "Tyrolienne haineuse", the Peruvian singer Chabuca Granda’s "Fina estampa" and Juliette’s take on François Morel’s comic "Lapins." The musicians who usually accompanied the singer on tour joined her in the studio on this occasion.

Juliette hit the road again in March 2008, kicking off another extensive tour.

March 2008