Marguerite Lersteau was born in the heart of the Vendée bocage and began singing at a very early age, by mimicry. By the age of 18, she was playing folk guitar and developing her own compositions on guitar, voice and harmonica in the folk style of the 70s.

At the same time, she discovered traditional music through dancing and learning to play the fiddle. Moved by their unifying and popular character, she spent two years learning the traditional Vendée repertoire from Maxime Chevrier - by oral transmission - and frequented dance classes and folk dances in order to link music, rhythm and movement.

In 2012, she tried out a nyckelharpa (a fourteenth-century Swedish bowed fiddle) for the first time. Won over by its sound and its complex construction, she acquired her own instrument in 2014, taming it thanks to her violin-playing technique. It wasn't until 2016 that she took part in her first group workshop led by Éléonore Billy, and then in 2017, during a second workshop with Éléonore in a smaller group, she really developed a passion for the nyckelharpa repertoire - that of Sweden. In 2018, she was awarded a 10-day scholarship by FAMDT and Adami to learn more deeply with Éléonore.

Today, she is committed to perfecting her style and training in dance music repertoires of sweden. To this end, she has been taught by accordionist Martin Coudroy during a 10-day one-to-one course and - at a distance - by Swedish violinist Mia Marine.

She also has a keen interest in the traditional music of the Balkans, and has taken part in various master classes led by Henri Agnel, Efrén López, Isabelle Courroy, Kelly Thoma and Emmanuel Frin, studying the rhythms, scales, ornamentation and style of the repertoires of Turkey, Crete and Bulgaria. She was one of the musicians on stage during the concert by Kelly Thoma and her guests at the Eurofonik 2023 festival.

She has studied Turkish saz led by Engin Atabay, and has also studied Turkish klasik kemençe with Chrysanthi Gkika. In 2023, she exchanged her kemençe for a Cretan sympathetic-string lyre, the playing technique of which she is studying herself.

She has practised Turkish singing with Veka Aller and through classes led by Eléonore Fourniau, and has been introduced to Swedish singing with the Kongero vocal ensemble and Swedish singer Anna Wikénius. She has also benefited from the teaching of "voice luthier" Emmanuel Pesnot as part of the polyphonic quintet Vilaine of 2020 and 2024.

A lover of the Swedish language, which she has been studying independently since 2021, she has a passion for the music of languages in general and is keen to analyse the different accents and melismas found in the repertoires she sings (Swedish, Bulgarian, Turkish)

Between 2015 and 2020, she played and sang with the street arts companies Gueule de Loup, Tan Elleil and Merwenn, and the Zachto trio or again with the Lusk quartet, which she created with David Sévérac.

In 2023, following a commission from the label and fanzine La Voix des Sirènes, she recorded a solo album of traditional Swedish music on nyckelharpa and singing. It features her interpretation and arrangements of this repertoire, which is particularly close to her heart. In april 2024 the album is released under the title Smultronställe and marks the release of the fanzine's 15th anniversary issue.

Today she performs with the duo Vóden (music from Scandinavia and the Balkans, compositions), the quintet Soñj (ancient Western music and ancient and popular music from the East), and offers individual lessons in nyckelharpa at beginner/false beginner level.

She is also part of the quintet of "augmented Bulgarian music" Sugar Bulgar, in creation since the fall of 2023 alongside David Sévérac (hurdy-gurdy, kaval, gaïda), Maëlle Duchemin (vocals, harp), Adrien Séguy (accordion, synthesizer keyboards) and Yula.S (drums, percussion) and whose first concerts are scheduled for 2025; and participates in the Simya Orkestra project which will bring together on stage in 2025 the artists of Simya Productions for the 10th anniversary of the association.