A key figure in French rap, Passi makes a comeback that is both low-key and highly symbolic—far from the media spotlight, yet loaded with meaning. A few weeks ago, the Secteur Ä was welcomed by Rachida Dati at the Ministry of Culture to be honored, highlighting the lasting legacy of that generation. In this same wave of resurgence, Pit Baccardi celebrated the 20th anniversary of his self-titled album on the legendary Olympia stage, a powerful reminder of that era’s enduring impact.
Long before exploring his “Tentations”, Passi and Stomy Bugsy had already left a profound mark on the French rap scene, notably through Ministère AMER and the controversial track “Sacrifice de poulets”. The song, now iconic, stands as one of the earliest major clashes between rap music and institutions over freedom of expression.
With “Les Tentations”, Passi reached a new level, delivering a landmark project that is both commercially successful and culturally defining. Driven by standout tracks such as “Je zappe et je mate”, “Le maton te guette”, “Le monde est à moi” alongside Akhenaton, and “Les flammes du mal”, the album reflects a turning point in French rap. Alongside Stomy Bugsy, Passi helped push the genre beyond its original boundaries, turning it into a form of music capable of reaching a much broader audience.
In the same spirit of expansion, Passi co-founded Bisso Na Bisso with fellow Congolese artists—a visionary project that anticipated, years in advance, the rise of Afro-influenced sounds in French music. This influence would later be embodied by artists such as MHD, Aya Nakamura, and Dadju.
On this new track, the pioneer brings together some of the finest lyricists in French rap for an ambitious posse cut. Alongside him are names like Akhenaton, Sage Po, Rocca, Neg’Marrons, 2Bal, Rockin’ Squat, and Papillon—a gathering of veterans, each stepping up to assert their presence on the mic.
Passi invites the “micro slayers”!
On production duties, one name naturally stands out for a lineup of this caliber: Djimi Finger. A sonic architect behind a significant portion of 90s French rap, he remains a benchmark figure. For younger audiences, his role could be compared to that of Flem or the collective Therapy 2093 today. His legacy includes classics such as “Affaires de famille”, “Sexe, pouvoir et biftons”, “On fait les choses”, “Un monde parfait”, and the timeless “Boxe avec les mots”.
As Calbo has passed away, and some of the greatest voices in French rap take turns on the mic handed by Passi, one line still resonates like a timeless manifesto: “Who claims to rap without taking a stand?”.
The format demands intensity: no room for long-winded verses here—just raw efficiency. Flows overlap, punchlines hit hard, and the overall energy goes far beyond the clichés often associated with an old school aesthetic.
Jacky Brown sets the tone with a sharp line: “Eh yo, Passi, let me warn them, better not come than come and die”, while Ben-J nods to his legacy: “Call me Lord Ben-J, never far from my partner, new spray signed Sarcelite”. G-Kill follows up: “Sit down, stop sucking up, only one holds the prophecy”, before Doc Gyneco closes with irony: “Lyrical slap, why you crying? Traitors stay cautious, just like Gandalf said”.
Verse after verse unfolds on this track with an impressive lineup—one that could easily have given birth to a third installment of a now-legendary posse cut… but will likely remain a fantasy for purists.
