A few days ago, PLK unveiled Grand garçon, a project that continues a carefully crafted and ambitious trajectory. Driven by well-curated collaborations — Theodora, Jolagreen23, La Rvfleuze and Limsa d’Aulnay — the record quickly found its audience, reaching gold certification in just three days.
Since Polak, PLK’s rise — signed to Panenka Music, much like Therapy Taxi and Georgio — has been defined by steady and consistent growth. If he laid the groundwork with Polak, leveled up with Enna, and made a lasting impact with Chambre 140, whose staggered rollout left a strong impression, Grand garçon now stands as a potential culmination point. A milestone symbolized by two Stade de France shows selling out within minutes.
Speaking with Fred on a Sunday night during Planète Rap, the rapper showed clear-headed awareness about his journey. He notably admitted that the sound experience at the Paris La Défense Arena didn’t fully satisfy him, suggesting the venue might be too large to properly capture the energy of his music. However, he also acknowledged being genuinely surprised by how quickly his two Stade de France dates sold out — an impressive achievement, though not one that will lead to a third show.
At the same time, PLK released Pas comme eux, an introspective track that accompanies the album. Here, the artist opens up without filters, embracing a grounded and sincere perspective, far removed from the illusions of success.
PLK is Pas comme eux
The track’s production is handled by Meshah, a discreet yet essential architect of PLK’s sonic identity. Known for navigating across eras and textures, he previously left his mark with 3 en 1 and À la base on Enna. A beatmaker capable of crafting timeless records, as also demonstrated by his work on Will LCK’s project, a rapper known for his sharp pen and love for classic rap.
Here, a few piano notes are enough to set a stripped-down, almost fragile atmosphere, allowing PLK to deliver an unfiltered confession. Beneath the success, a deeper question emerges: how should one view themselves — and an industry built on constant illusion?
“They front like that, if you only knew what’s behind it
You wouldn’t be a fan of anyone, just crazy stories everywhere
No big brother, it’s me — I go to war with my team
My balls and my steel, my principles, my code”
Without explicitly stating it, PLK aligns himself with a long-standing critical tradition in rap, echoing artists like Haristone and, earlier, Xzibit on Paparazzi. From its early days, rap has always oscillated between fascination and skepticism toward the industry. Here, the artist pushes that reflection further, questioning the emptiness that success can sometimes bring:
“I’m afraid of ending up empty — I think my pockets are too
Everything can fall apart from a single decision
So I don’t get used to anything, I just let the seasons pass”
The visual, directed by Faïd Hadji, embraces a minimalist, almost anti-spectacular approach. It portrays an ordinary lifestyle, far removed from clichés of luxury and excess — a visual direction that perfectly aligns with the track’s message. The director is currently working on an ambitious short film, soon to be completed, centered around the theme of death in the Comoros.
