​​Born in 1965, Odile Barlier trained at the music school by studying cello and classical dance at the Metz Conservatory. She also studied Fine Arts in Metz, where she acquired techniques in drawing, photography, sculpture... and went to live in the Basque Country. It is there that she began to learn Afro-Cuban music with Christophe Roquefer, then back in the East, with Jacques Tellitocci, Olivier Congar, Guy Brogle. She liked to play in salsa groups such as Batingas, Tierrabrava and Son Del Sol, but her artistic curiosity and her three maternity wards attracted her elsewhere. Odile loves "wild" music, the music that is spontaneously made with a breath in the trees, the resonance of an object, the flow of water, village life, urban activity... the poetic musicality of everyday life. In 2001, she created her own playground, the Cabane à ouïr, which became her musical instrument in which she likes to invite the public or other artists. This initiative was born out of a commission from Scène et Territoire in Lorraine to create a sound space in an old sheepfold, in which, with two other percussionists (Jacques Tellitocci and Jérôme Hulin), improvised music concerts took place, offering the public the opportunity to discover for themselves the sound capacities of heterogeneous objects. 

Odile observed that it is not always easy to get into a listening state. She has therefore developed a pedagogical approach based on listening: to the environment, but also to oneself, to others, to know how to speak or not to speak... which addresses and adapts to all types of audience. Her "hut" is an assembly of hazelnut rods held together by inner-tube straps, allowing her to hang or place objects gleaned during her adventures... singing stones, whispering woods, water drums, clay pots, concrete irons, porcelain splinters or water flutes. Little by little, through her encounters and artistic experiences, she developed the practice of the voice and integrated singing into her compositions. In her device, Odile listens to what the materials give her to hear, and converse with them on written or improvised pieces of music, on songs or illustrated texts. The improvisational part is important because it opens up a space of shared trust with the audience in which the "outside", what comes from the material, the environment, the audience itself, directs the game. It can then be totally attuned to the audience and become itself an instrument. The written part of the texts, songs and music allows her to dig around the subject, to target the sensations, to play with the pleasure of telling a story. Thanks to this "instrument" played acoustically, a first duo, Oïso, was born, with Lise Garnier (singer-trombonist), then others, multidisciplinary, with Diane Vaicle (string player), Christophe Beranger (dancer), or with guests, Camille Perrin (double bass clown), Meriem Rezik (drummer), Zongo Geraldine and her ancestral tradition of underwater percussion AKUTUK... Her crossroads with Bossa Flor was made through her meeting with Didier Sustrac, whom she joined for concerts in Brussels in 2019 and 2020, and the album "« Marcher derrière » which was presented, among others, as part of the Bossa Flor 2020-2021 season.