The return of a true French rap pioneer is finally here. Long before rap dominated streaming platforms and topped the charts, Passi was already helping redefine the landscape of French hip-hop culture. In the late 1990s, when so-called “urban music” was still considered a niche market, the former member of Ministère A.M.E.R. and the legendary Secteur Ä collective made a major impact with “Les Tentations”. More than a commercial success, the album marked a turning point for French rap. Tracks such as “Je zappe et je mate”, “Le maton te guette”, and “Il fait chaud” helped bring hip-hop beyond its core audience and firmly establish it within mainstream French culture.
This ability to anticipate cultural shifts also defined the adventure of Bisso Na Bisso. Long before Afro-inspired sounds became a dominant force in French music, the collective of artists with roots in the Congo was already building bridges between rap, African identity, and popular music. Following his long-awaited comeback, Passi recently unveiled “Bande Originale”, a project that brings together multiple generations of artists. The album features collaborations with Driver and Sofiane on “Carton Rouge”, K-Reen on “Hold Up”, and Bisso Na Bisso on “C’est pas moi”. Most notably, the rapper reunites several veterans of French hip-hop on “Les Saigneurs du micro”, a symbolic celebration of the generation that helped shape the movement’s history.
After years away from the spotlight—and only a few months after the return of Pit Baccardi—Passi continues to highlight his new album with “Vol au-dessus”. The socially conscious track takes its title from the classic film “One Flew Over the Cuckoo’s Nest”, starring Jack Nicholson. The reference is no coincidence for an artist whose work has long reflected a sharp awareness of the world around him.
Passi delivers an uncompromising look at modern society on “Vol au-dessus”
The track is produced by Santa J, one of the key contributors behind “Bande Originale”. The producer is also responsible for several other songs on the project, including “Tu sais”, “Le Cercle”, “Francs ou Euros”, and “Sur la route”. According to his Genius profile, Santa J has also developed part of his career in Turkey. Here, he delivers a deliberately old-school instrumental built around a recurring vocal sample that gives the song both a nostalgic and solemn atmosphere.
Over this stripped-back production, Passi offers a bitter assessment of contemporary society. Remaining faithful to a tradition deeply rooted in French rap throughout the 1990s and 2000s, he prioritizes social commentary over technical showmanship. The approach echoes the political and social observations found in Ideal J and Kery James‘ “Hardcore”, IAM‘s “La fin de leur monde”, and more recently Rohff‘s “Fitna”. Like many artists of his generation, Passi views rap as a tool for social criticism and political reflection. The same spirit can be found in the work of Assassin, another iconic group currently making a return to the spotlight.
While Ärsenik famously summed up an era through “Sexe, Pouvoir et Biftons”, Passi now argues that “the darkness of the world revolves around four subjects: money, sex, violence, and drugs.” Throughout the song, he explores each of these themes through a critical lens shaped by current events and the tensions defining today’s society.
“Our intellectuals want to put police officers in kindergarten classrooms.”
The visual treatment is handled by Flogo. The director places Passi inside the café “La Baraque”, where the rapper delivers his reflections directly to the camera while a montage of news footage reinforces the song’s message. Political tensions, social unrest, and contemporary anxieties all pass through the screen, creating a visual counterpart that supports the track’s themes without overwhelming them. A familiar name within independent French rap, Flogo has also directed several videos for Tūta, including “Viens on se casse”, “Plongée dans l’univers”, and “Ailleurs”.
