
Stephen Kennedy (music, lyrics) from Papillon de Nuit
Some creative journeys are born from a sense of urgency, others from years of meticulous work behind the scenes. For Stephen, the mind behind PAPILLON DE NUIT, it’s a blend of both. After two decades of working with bands as a manager, promoter, and tour manager, he finally turned the spotlight on his own creativity, crafting music that blends Gothic, Classical, Opera, and poetry into something both delicate and profound. Driven by an awareness of time’s fleeting nature, Stephen channels his life experiences, poetic sensibilities, and love of sound into a project that is as much about the present as it is about permanence. PAPILLON DE NUIT - “born in the night, released into the day” - is more than a musical project; it’s an evocative exploration of art, emotion, and the inevitable passage of time. Now, as he prepares to release a song every month and dreams of bringing his music to life in atmospheric settings, we dive into the inspirations, challenges, and creative philosophy behind PAPILLON DE NUIT.
Reflections of Darkness [RoD]: Let’s start with something close to home - how’s the York music and creative scene doing these days? Do you think it’s shaped your approach to music and live performances?
Stephen: York has always been a creative hub, for all the arts, and the music scene is no exception. Despite a decline in venues and people attending live shows - which is a national problem - it still feels like a vibrant city. But in terms of the shows, I’ve curated and organised as a promoter, I’ve always pretty much done my own thing, regardless of scenes and fads. And this is the same with the music I’m now creating, and the directions I’m steering myself in.
RoD: Your transition from managing and promoting to creating your own music is a fascinating journey. What inspired you to make that change, and how has it shifted your perspective on the music industry?
Stephen: I suppose at some point, everyone working in the music industry must ask themselves if they could create as well as assist. But just because you can read doesn’t mean you can write a book. I’m lucky, as I’m from a very musical family. From a young age, I was surrounded by sound - Opera, Rock’n’Roll, Classical from my parents, and Pop, Classic Rock, and Metal from my elder brother. I took singing lessons and entered competitions, which shaped my love of being on stage. I love managing and promoting, and I’ll continue to do that, but I thought it was finally time to let my own creativity flourish. I don’t like conventional song structures, and when I’m not hearing the type of songs I want to listen to, it makes sense that I try and birth them myself. It’s a natural progression. In terms of the industry, creating and working in the live sector now are exactly the same - it’s more difficult, more instant, and the returns are smaller. Work hard, work quickly, and be passionate about what you do.

RoD: The name “Papillon de Nuit” is both poetic and evocative. How did the concept grow out of the Gothic Moth project, and what personal meaning does it hold for you?
Stephen: The idea of Gothic Moth stemmed from a long-held wish to combine elements of Gothic, with Classical, Operatic, and Dark Folk. I’ve felt firsthand the gate-keeping in both the Gothic and classical worlds, even though the two have a lot in common. So PAPILLON DE NUIT is my way of breaking down those exclusive barriers. Plus, moths are awesome. Beautiful yet sinister, delicate yet robust - they’re butterflies of the night. The name reflects my aim to write music that’s composed in the night but can shine in the day. And let’s be honest - a bit of French never hurt anyone.
RoD: Your lyrics and themes often explore the passage of time. Was there a specific moment or experience that inspired you to make this concept such a central part of your music?
Stephen: I like the idea that the movement of time is inevitable, yet within that movement, some things are fixed. An author will die, but their work remains rooted in its time, while also being carried forward by generations. In that sense, artists create a bubble of immortality, even while exploring themes like decay, loss, fear, longing, and ultimately death. On a personal level, I am very ill. There’s an urgency about what I do. I’m calm and accepting, but I don’t take time for granted, and I see no point in procrastination or inertia.
RoD: Looking ahead, what’s something you’re excited to explore or experiment with in PAPILLON DE NUIT - whether musically, visually, or in your live performances?
Stephen: I can’t say too much at the moment, but one of the songs I’m working on will involve a lot of organisation, a lot of people, and will hopefully earn the title of “epic”. I’m incredibly excited about that. While this isn’t a live project yet, adapting the songs for a live setting will be a real challenge, but one I’d love to tackle. Ultimately, the most important thing is to feed the enthusiasm I have for creating. I don’t want limits - on which musicians I work with, which instruments I use, or which styles of singing and playing I explore. The thrill lies in letting your imagination soar and seeing where it all leads.
Pictures by JM 9