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The Evolution of French Rap & Hip-Hop

French music has a rich history that spans centuries and continents. Edith Piaf’s hits (such as “La Vie En Rose” and “Non, Je Ne Regrette Rien”) are staples of the global music scene. Meanwhile, Belgian pop stars such as Stromae and Angèle captured the 2010s radio scene. It would be an oversight of mine not to mention the global superstar Celine Dion, who sings both in French and English. It is also important to highlight the folk and country-inspired music of Québec and the First Nations of Canada. But today, one music genre consistently clocks in as the most popular in France: rap. Rap, as a musical genre, has deep roots in France, particularly in Paris, highlighting the intercultural mélange that characterizes the city.

 

The Modernity of French Rap

What makes French rap so captivating for the public is its catchy beats and poignant messaging. Often, rappers sing in French, Arabic, Spanish, and other Francophone dialects (especially ones deriving from across Francophone Africa). As a cultural movement, French rap has been credited with subverting the traditional French culture and inspiring a “counter-culture.” These influences can be seen in the domains of fashion and language (such as Verlan slang), especially in younger generations. At its core, French rap remains true to its origins as a source of political and social commentary on the experiences of French people, especially younger generations, and Black French people.

 

From the Bronx to the Banlieues and Beyond

The roots of French rap come from the birthplace of the “rap movement”: the Bronx in New York City. American rap or “hip hop” focused on the socio-political realities of the early 1970s, spreading the stories of Black communities in the United States using traditions that were rooted in African oral storytelling traditions. As rap crossed the Atlantic, Black communities in the Parisian banlieues found parts of their own stories in the American songs. The songs were especially popular in Black immigrant communities in the banlieues, who felt a renewed sense of cultural belonging tied to the music.



Sarcelle -- A Parisian Banlieue                                                                                              Photo Credit: By Bentz - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=91387599
Sarcelle -- A Parisian Banlieue Photo Credit: By Bentz - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=91387599

 

As rap grew in popularity, a second French city rose as a “rap capital.” Teenagers in Marseille quickly took inspiration from the rap music coming out of Paris and began to craft a movement of their own. In Marseilles, a deeper connection to the Mediterranean and North African culture crafted a unique mixing of French dialects, something that was not as prominent in the early stages of the rap movement in Paris. While early Parisian rap focused on political confrontations, rap from Marseilles focused on social relations.


MC Solaar                                             Photo Credit: By Thomas Faivre-Duboz - originally posted to Flickr as MC Solaar / Invité du RH Factor, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=7872917
MC Solaar Photo Credit: By Thomas Faivre-Duboz - originally posted to Flickr as MC Solaar / Invité du RH Factor, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=7872917

 

During these early ages of French rap, artists hit the global stage quickly. MC Solaar and Stomy Bugsy were two of the first French rappers to hit the international stage. MC Solaar, who was of Sénégalese origin, showcases the role of African immigrant communities in expanding the impact of French rap. Dee Nasty is often credited with starting a more “mellow” version of French rap. Meanwhile, the Marseille-influenced group IAM came to be, shifting the movement from its Parisian center. IAM is also credited with fully embracing their African roots and shifting French rap to include an expansive view of Black immigrant identity.



Photo of IAM Lead Singer            Image Credits: By Francis Bourgouin - https://www.flickr.com/photos/sicnarf/2633575823/in/set-72157605955714104/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=117428047
Photo of IAM Lead Singer Image Credits: By Francis Bourgouin - https://www.flickr.com/photos/sicnarf/2633575823/in/set-72157605955714104/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=117428047


Explosion of French Rap in the Early 2000s & 2010s

The real explosion of French rap came in the early 2000s when the French government made a law that directed radios to use at least 40% of their airtime playing French-language songs. This rapidly expanded the airtime of Francophone artists around the globe, and the production of Francophone rap skyrocketed. During this time, French pop was the most prominent genre on most radio stations, but rap was growing with immense pace.

 

In the 2010s, modern French rap legends such as Maître GIMS and Black M garnered themselves global names. During this time, rappers also began expanding their use of language to include many dialects of Francophone Africa as well as other languages spoken by African immigrant communities, such as Arabic and Spanish.

 

Modern French Rap – A Thriving Movement

Today, French rap is the biggest genre in France. As a full movement, it has exerted an immense impact on music and culture across the Francophone world, but especially in the young, Black communities in France.

 

The most recent demonstration of the growth of French rap came during the 2024 Summer Olympics, where Aya Nakamura took the stage to perform an Edith Piaf-inspired musical performance. Nakamura was the first woman since Piaf to take the #1 spot on the list of French artists, a title she still holds. Paying homage to the deep roots of French music, Nakamura highlights the current state of French rap: a global genre that defines modern France.







Written by Kaleb Houle-Lawrence.                                       University Intern
Written by Kaleb Houle-Lawrence. University Intern

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