• “Dear Labros, It was my privilege to have attended your innovative and powerful performance last night. This ‘expressionistic’ approach reflects the angst of our times in a creative mode as a kind of formless shriek. What is important is that the performance was very good and the audience were very appreciative.” a fan, Y.Z. 

  • “WORLD DOG” / Live Performance at the Onassis Foundation in Athens, GR 

    “World Dog does not resemble any other Greek musical troupe. The first reason is that this project consists of two absolutely distinct “poles”, which manage to ideally blend together. The first “pole” is the music, creation of Tilemachos Mousas, the counter-bass of Chrisostomos Boukalis and the drums of Panos Tziniolis. The second “pole” is none other than Labros Filippou.

    And after about a year of living abroad in America (where he continues to reside), he has chosen to continuously develop his artistic medium of expression, reaching an almost transcendental level, he is most likely the only Greek who can not only request, but demand the title of ‘true performer’!

    With the main vehicle being traditional Greek folk songs, which are grafted with sufficient doses of blues, Filippou “plays” with the sacred and the profane, the earthly and the spiritual or the metaphysical, he scoffs with merciless sarcasm at himself, he provokes and is self-provoking.

    Above all, he pushes his own limits, those of the performer and even those of humanity, whilst continuously trying to exceed those boundaries, uniting English and Greek verses in the same piece, as if they were one and the same. He transitions into various roles through singing, sometimes of both sexes, instantly passing from one to the other, while he does not hesitate even to distance himself from his stage persona to observe, to comment or to mock himself. And all of this, he does with an almost frenetic beat, without a moment of complacency in an experiential performance which not only has the participation of his vocal chords and every last cell of his body, not only does he grasp every single moment displaying a self-control which would be exhausting for any one else involved but in reference to the overall show.”   Thanos Mantzanas –


  • “The audience was settling into their seats, as World Dog was scoring… a goal before the game even started, managing to earn the best impressions, before even the beginning of the show.”


  • “The project World Dog was full of surprises, paradoxes, provocativeness and it seemed like a sound and visual experimentation which triggered emotion in multiple dimensions.”…..”While blending baroque, rock, jazz and traditional folk elements, World Dog had absolute cohesion amidst its diversity.”…..”The unique vocal abilities of Labros Filippou prevailed throughout the entire performance, alternating between (Greek) traditional songs and arias of the British baroque opera.”


  • “Who is mr. Kellerman” a visit to Kafka’s Tower / theater performance

    “…and the revelation of the evening proved to be the young Labros Filippou, ever omnipresent and always complete.” VIMA newspaper

    “The revelation that bears the name Labros Filippou.” Eleftheros Typos newspaper


  • AKROPOLIS RECONSTRUCTION” / theater performance

    “One of the moments that I stole to keep in my memory, was Labros Filippou’s riveting gaze as he approached me.” Camera Stylo Online blog


  • “Anthem to Liberty” / ATHENS & EPIDAURUS FESTIVAL / theater performance (director and actor)

    “Sex-Violence-Guts with the accompaniment of music” The Fourth Bell blog

    “The nationalistic fervor drifts. Some of the audience members take part in the violence: The nationalistic hysteria lures them, the National Anthem becomes the means for imposing fascist mentality. Denunciation of fascism and nationalist exploitation of the nation became clear using quite simple means. The persona of Labros Filippou during the musical part of the performance also brings to mind “The Wall” of Pink Floyd, which functioned as a clear explanatory intertextual reference”.  D. Tsatsoulis ELEFTHEROTYPIA newspaper

    “The theatrical proposal of Labros Filippou and his band Yianneis, is the most complete version of creative and artistic discourse with clear social constituencies rooted in dense political rhetoric” D. Bampilis FREEquency thezine blog


  • Collaboration with Tilemachos Moussas and Julia Kent / Album “Newborn”, song “Alismono”, release 2010 / Labros Filippou (co-adaptation, vocals)

    “The album opens with a version of the Greek traditional song “Alismono Ke Herome” that undoubtedly drenches you with gratification. A twelve-string guitar (Tilemachos Moussas), a cello (Julia Kent of Antony and the Johnsons) and the voice of Labros Filippou (frontman of Yianneis), take you on a magical journey, which is the song’s nature.”   Jazz & Tzaz magazine


  • Yianneis’ debut album

    “It is not a coincidence that they created a ruckus even before their first album was released, being that Yianneis articulate their own distinct sound that resembles nothing else you’ve ever heard.”   Athensvoice newspaper


  • Yianneis band

    “The charismatic Yianneis, by far the most complex and mysterious Greek band of our decade, are in no mood to have their art categorized. Fair enough.”

    “Passion and intensity, yes. Friendly essence, yes. Visionaries, yes. Amateurs, no. Predictable, no.”   Jazz & Tzaz

    “I am in favor of different and more advanced expressions of Art, especially when they are capable of fueling an evolution and making a difference.”

    “Maybe there are some, not too many, ostensibly outsiders, who choose to blend their sound with acoustic, electric and electronic instruments, whilst adding a pinch of “random” sounds and noises and covering it all with an improvisational disposition. A scarcely finite number of them are capable of such infinite primal inspiration and elegance. Yianneis music is not “abrasive”, it does not try to be sophisticated, it is peculiarly “harmonious” and unpretentiously beautiful in its simplicity.”   Thanos Mantzanas –

    “Every last detail was nurtured, from their essence on stage, to the way their theatrical movements were performed and the fact that each and every member of the troupe was the epicenter of the show.”

    “Most importantly, however, is that all of this is done with a disposition not to stand up against the public as something special, damned, obscure or unnecessarily provocative, but rather beside them, approachable and sincere.”

    “This daredevil troupe, this out-of-the-blue gypsy circus (or maybe herd of vampires?), knows very well how to take you on their bizarre journey, still never neglecting to bring you back to your seat and mundane little life, purified. Inevitably, I cannot think of anything remotely similar that can be used as an axis of juxtaposition.”