In 1992, Denez revolutionised all clichés taking up the bet to sing in the “ Transmusicales “ of Rennes in front of a rock public. This concert was a real triumph which opened him the doors to major musical events like the Festival Coup de Coeur Francophone in Quebec (1994) or Euromusica in Portugal (1995)…

After his first a cappella record, entitled Ar gouriz koar (1993) mainly composed of traditional songs, he entirely composed his second record Me ’zalc’h ennon ur fulenn aour. This record which praised by the generalist and specialized press is one of the first having dared and succeeded in the combination of both song and new electronic music : “ His requirement and his formalism make him the only singer to have really succeeded. “ (Le Monde 02/06/1999). Ensue many concerts : Les Francofolies of La Rochelle in France (1999), La Cigale in Paris (1999), Les Vieilles Charrues of Carhaix in France (1999), Le Bataclan in Paris (2000)…

His third record Irvi asserts again this meeting willingness. The singer which does not have any prejudices remains loyal to his devices. If some of his recent compositions still show his deep loyalty to his roots, the others propel the listener to other lands and call to mind the Far East, Ireland, or result directly from Trip Hop, liturgical song or vocal improvisations rooted in Jazz. It provides him with the opportunity to invite those who stood out his sensibility such as Davy Spillane, the undisputed master of modern uilleann pipe and Louis Sclavis, one of the major figure read of European Jazz.

In 2001, being charmed by his voice, the American director, Ridley Scott (Gladiator, Alien) and the composer Hans Zimmer (Rain Man, Pirates of the Caribbean) integrate one of his composition which is sung in duo with Lisa Gerrard, in the musical band of Black Hawk Down movie who won two Oscars.

           The same year, Denez was asked by the French composer Yvan Cassar to participate in the soundtrack of the documentary film L’Odyssée de l’Espèce by Jacques Malaterre. He wrote two songs Migration and Au bout du monde which he co-wrote the music with Yvan Cassar.

In his fourth record called Sarac’h, Denez resorts to some of the major female voices in the world, namely : Lisa Gerrard, Yanka Rupkina (Mystery of Bulgarian Voices).

Ever since, Denez performed in the Stade de France in Paris (2003), Les Transmusicales de Rennes in France (2003), Le Théatre de la Ville de Paris, the Stimmen Festival in Germany (2004), La Filature Scène Nationale de Mulhouse in France (2004), Le Fanal Scène Nationale de Saint-Nazaire in France (2004), the Festival Celtic Connexion in Scotland (2004), Les Trans en Chine in Beijng (2005), the Vestfold Festspillene in Norway (2005), the Festival Mitte Europa in Czech Republic (2006), the Théâtre Rozrywki in Poland (2007), the Théâtre Antique de Vienne in France (2008), L’Equinoxe Scène Nationale de Châteauroux in France (2009), the Théâtre Anne de Bretagne Scène Nationale de Vannes in France (2009), L’Espacio Cultural CajaCanarias in The Canary Island (2009), in La Halle au Château in Delémont in Switzerland (2010), in  la Salle des Musiques Actuelles La Carène  in Brest, France (2011),, in the Festival Interceltique  in Lorient, France (2011), La Passerelle Scène Nationale de Saint-Brieuc in France (2012), in the Festival Eurofonik (2012) in Nantes, France….

In 2012, The French Director Olivier Dahan (La Vie en Rose won two Oscars and a Golden Globe) and composer Guillaume Roussel include Denez Gortoz a ran song in the soundtrack of Les Seigneurs.

Denez, the poet singer has invented a culturally mixed style of music, very open to world-wide influence where his voice comes to the fore. It offers a musical voyage in which celtic, greek, slavic, gypsy and yiddish themes are mixed together in new compositions. The instruments follow one after the other to create different musical landscapes The andalousian cajon, the gypsy violin and the breton guitare come together in a fisel dance. And in a Gwerz with oriental influences. The armenian duduk, the subois, the irish whistle play in harmony. Borders breakdown and give way to a musical mosaic which is carried by an original and universal voice.