In June, Hamza returned with Mania — a dense and versatile project featuring standout guest appearances from Werenoi, Bayron Messia and Rema. In its first week, the record moved a little over 25,000 units — a solid figure, though slightly below the 40,000 copies achieved by his previous album Sincèrement. Numbers aside, Hamza continues to impose his own vision, his elegance, and his unmistakable sonic fingerprint.
Always in search of new textures, Hamza explores on Mania a soundscape that’s both sensual and introspective. The track Yesterday — a clear nod to the legendary Beatles song — channels the nostalgia of a changing world while reflecting on the ability to adapt. With a mix of introspection and foresight, Hamza reveals a more contemplative side of his artistry.
Hamza envisions a new world with Yesterday
The production for Yesterday is handled by Ponko, a long-time collaborator and cornerstone of Hamza’s sound. The beatmaker, who previously crafted the ethereal Life from the rapper’s debut album, also worked with Damso on Passion and Perplexe. It’s no coincidence that he’s behind BXL Zoo, the powerful joint track connecting the two Brussels heavyweights.
The song stands out with its sharp rhythm and unmistakably American flair, driven by a hypnotic looping piano sample that builds a haunting atmosphere. Through it, Hamza paints a world where the harshness of daily life intertwines with quiet disillusionment:
“The girls in my hood ain’t got no heart, yeah
She’s cooking dope in front of her crying kid, yeah”
and further:
“The lil’ bros grew up, now they’re bandits (bandits)
Counting cash, recounting baddies
Moving like Illuminati (yeah)”
The black-and-white visuals are the work of Hugo Bembi and Sacha Naceri. The duo — who previously directed Réel (featuring Zed) and Nobu — have developed a clear affinity for monochromatic aesthetics. Their minimalist direction amplifies the melancholic tone of the track and reinforces the visual consistency of Hamza’s universe.
