Aya Nakamura didn’t wait for the Paris Olympic Games to become a generational icon. Back in 2018, the singer completely reshaped the French music landscape with her album “Nakamura” and, above all, the global smash hit “Djadja”, a true urban-pop explosion that pushed her career far beyond French borders. Certified gold in the Netherlands and constantly booked across Europe’s biggest festivals, Aya Nakamura quickly established a unique sound blending afro-pop, R&B, and Caribbean influences.
Over the years, the artist has become one of the strongest faces of contemporary French-speaking pop music. Invited to perform during the opening ceremony of the Paris 2024 Olympic Games alongside the Republican Guard, she came to embody a new multicultural, unapologetic, and globally connected generation of French youth. Yet her success has also sparked backlash within parts of the French media landscape. Despite growing international recognition and high-profile collaborations — including with British superstar Stormzy — Aya Nakamura continues to face controversy and criticism reflecting an increasingly polarized French society.
Standing opposite her is La Rvfleuze, currently one of the fastest-rising names in French rap. With “Numéro d’écrou”, the rapper posted an explosive debut, selling over 20,000 copies in its first week before quickly securing gold certification. Impressive numbers for an artist still considered a newcomer by part of the industry. While many rely on heavily calculated marketing strategies, La Rvfleuze seems to resonate with audiences thanks to his raw authenticity, instinctive energy, and a sense of spontaneity that has become increasingly rare in today’s rap scene.
At first glance, the collaboration between the two artists almost felt unexpected. On one side, the queen of Afro-Caribbean rhythms and French urban pop. On the other, a street rapper with a much rougher aesthetic. Yet on “Sexy Lady”, the chemistry clicks instantly. Aya Nakamura embraces a more provocative, almost rap-oriented attitude, while La Rvfleuze stays true to the cold and natural charisma that defines his persona. The result is a catchy, summer-ready anthem that has already surpassed one million views on YouTube.
Aya Nakamura and La Rvfleuze team up on “Sexy nana”
The track’s production is handled by Abl Génie & Joé Dwèt Filé. Already featured alongside Aya as an artist on her latest project, Joé Dwèt Filé steps behind the boards here to craft a beat heavily inspired by current American sounds. Alongside him, longtime collaborator Abl Génie brings the smooth melodic textures and atmospheric layers that give the song its international flavor.
The track fully embraces its US-inspired DNA, mixing sensual melodies, infectious hooks, and unapologetic egotrip energy. Aya Nakamura delivers her trademark irreverence:
“Mais j’suis qu’une baddies (baddies, baddies), t’es pas compatible (‘patible, ‘patible, nan)
Oh papi (papi), t’as pas pied, quitte”
Before doubling down with:
“J’l’ai laissé dans son goumin donc il s’tue au Hennessy”
La Rvfleuze answers with the same laid-back confidence:
“Elle croit j’vais regarder sous sa jupe, passager, maintenant, j’me suis assagi (hein, hein)
J’connais la pandémie (hein, hein), le chat, il court quand la souris passe (passe)”
The music video was directed by Zaven, now a key figure in Aya Nakamura’s visual universe. Already behind the cinematic trailer announcing her Stade de France show in 2026 as well as the visual for “No Stress”, the director once again showcases his ability to create sleek, modern imagery. His résumé speaks for itself: he also collaborated with Major Lazer on the visual for “Gangsta”. While Aya Nakamura calmly prepares for her future Stade de France performance, “Sexy nana” further proves her ability to move between worlds without ever losing her identity.
