Her mother, Simone Clybouw (born in Rueil-Malmaison 1934), was her biggest influence on a personal and artistic level, and introduced her to Jazz and Classical music before Billie had made her first footstep.

As she continued to develop her love of the arts some of the highlights were, at age 14, her first performance as a drummer playing John Lennon’s “Power to the People” on plastic buckets, and aluminum lids in front of a crowd of about 100 kids at the beach in De Panne where she also sang a duet "Who'll Stop the Rain" by John Fogerty.

At age 17, at the Royal Concert Building of Bruges, Koninklijke Stadsschouwburg Brugge, she directed and choreographed a group of 5 performers and co-performed in Sunshiny Days, which was inspired by writer Johnny Nash’s song "I Can See Clearly Now" and the music of Gladys Knight and the Pips.

With DJing becoming such a huge part of our culture by the time she reached 18, Billie had started presenting professionally in the entertainment industry in Bruges where she specifically remembers the "Saaihalle", which now seems to be The Frietmuseum, where she enjoyed her first DJ adventures, "Le Carrousel", that since has transformed into a hotel, where she worked as a bartender/DJ from around 5pm to 2am and mostly entertained the Opera crowd, singers, directors, artists and Opera employees, and her absolute favorite, the hottest small jazz club in town in 1976–77, "Het Patriciershof" on the Jan Van Eyck Square, Jan van Eyckplein, where she worked from around 2-2:30 am to 8 am and where René, one of the owners and an old jazz friend of her mother, introduced her to the jazz of Thelonious Monk, Charlie Parker, Miles Davies, John Coltrane, Charles Mingus, Lester Bowie, Cecil Taylor, Archie Shepp and even more at the time considered obscure jazz musicians, and where she became a bartender and Dj, and entertained the Jazz crowd of Bruges deep nightlife that usually consisted of entertainers, musicians, painters, writers, chefs, hair stylists, fashion designers, models, gamblers and lots of whisky drinkers which were served "under the table" due to the existing prohibition of no alcohol to be served in public.

All these experiences further enriched her love of rhythms and beats, of music, of jazz, cementing her desire to pursue drumming and fulfilling her need to entertain.

[2] "Davies is mostly an autodidact whose natural talent, relentless, explorative spirit and multifaceted experiences have led to an innovative approach to jazz.

Even with the Roma, she lived several years in their way of life, which her bohemian temper satisfied so that at twenty-five she refused the offer of the legendary drummer Max Roach to study at Berklee College of Music in Boston, after he heard her play in Montpellier on the street.

At a crossroads in her musical career, while living and playing and performing with Claude Mazet in the South of France (Montpellier, Toulouse, Biarritz, La Rochelle), Billie ended up receiving a talent grant from Max Roach to come study at Berklee College of Music, this was after he heard one of her tapes she laid down with a bass player in Montpellier, France.

Billie was however having too much fun in the south of France, living the life of a gypsy jazz musician and therefore decided not to take the offer.

A collaborative work, conceived in 1995 resulting 20 years later in a series of 8 paintings and a jazz symphony of 8 musical movements.

The album was recorded at her studio on the west bank of the Mississippi River, just outside New Orleans, with Alex Blaine on tenor sax, Branden Lewis on trumpet, Evan Oberla on trombone, and Ed Strohsahl on upright bass.

In February 2016 she formed Billie Davies Trio with Evan Oberla and Oliver Watkinson, moving into a very electric, Nu jazz direction.

By the end of that summer the new recording "On Hollywood Boulevard" had become a reality and so established BILLIE DAVIES - A Nu Experience - Feat.

[16] "As a bandleader, Davies delivers an ambitious program that incorporates r&b-flavored vocals, propulsive bass lines, drum patterns with a swing feel, occasionally blues-tinged keyboard work, growling trombone, epic prog-rock synthesizer washes and brief bouts of hip-hop turntableism, all tied together with an improviser's approach."

Like the best forward-thinking music, Billie Davies' work reminds you of many different things but in the end, it is its own original beast, as powerful as anything more well-known musicians have created this year."

[29] She received more national and international attention due to a player feature, "BILLIE DAVIES '20 Years Stronger', published in Downbeat Magazine May 2016 edition.