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	Current EURO200
	New entries in the EURO200                                       Review for week 48 - 2025
	Papa V & Night Skinny featuring Nerissima Serpe arrive this week as the highest new entry in the Euro 200, debuting at number 96 with their track “Pura Purissima.” Papa V is an Italian rapper who has been steadily building his reputation in the underground scene, known for his sharp delivery and raw storytelling. Night Skinny, also from Italy, is a respected producer in his mid‑30s who has worked with many of the country’s most influential hip hop names. He is recognized for his dark, cinematic beats that often blend trap influences with a distinctly European flavor. Nerissima Serpe, a younger rising voice in the Italian rap world, adds a fresh edge to the collaboration, bringing her own perspective and energy to the track. Together, they form a trio that represents the current wave of Italian urban music, which is increasingly visible across Europe. “Pura Purissima” is a track that combines gritty rap verses with a hypnotic beat, creating a mood that feels both street‑level and atmospheric. The title translates roughly to “Purest Pure,” and the song plays with contrasts between purity and corruption, light and darkness. Papa V’s verses are direct and uncompromising, while Nerissima Serpe’s contribution adds a sharp counterpoint, her voice cutting through the production with confidence. Night Skinny’s production is layered and heavy, using deep bass and sparse melodies to create tension. The track feels like a statement of intent, positioning these artists as serious contenders in the European rap scene. The debut at number 96 in the Euro 200 is significant because it shows how Italian rap continues to break into the continental mainstream. For Papa V, this is a breakthrough moment, while Night Skinny reinforces his reputation as one of Italy’s most important producers. Nerissima Serpe’s presence highlights the growing role of female voices in the genre. “Pura Purissima” is not just another rap track; it is a cultural marker of how diverse and international the Euro 200 has become.
	Lewis Capaldi makes his debut this week in the Euro 200 at number 99 with his new ballad “The Day That I Die.” Capaldi is a Scottish singer and songwriter born in 1996, which makes him 29 years old in 2025. He grew up near Glasgow and quickly rose to fame with his breakout single “Someone You Loved” in 2018, a track that topped charts worldwide and established him as one of the most recognizable voices in modern pop. Known for his heartfelt lyrics and powerful, raspy vocals, Capaldi has built a reputation as a master of emotional ballads that connect deeply with listeners. His personality off stage is often humorous and self‑deprecating, but his music consistently carries a raw intensity that resonates across generations. “The Day That I Die” continues this tradition, offering a deeply emotional narrative that explores themes of mortality, love, and legacy. The song is built around a simple but haunting piano melody, with Capaldi’s voice carrying the weight of the lyrics. His delivery is both vulnerable and commanding, pulling the listener into the story he is telling. The track reflects on how people want to be remembered and the impact of relationships that define a life. It is not a song of despair, but rather one of reflection and acceptance, with a bittersweet tone that feels universal. Capaldi’s ability to take such heavy themes and present them in a way that feels accessible and relatable is part of what makes him so successful. Landing at number 99 in the Euro 200 is a strong start for a new release, especially given the crowded chart environment filled with seasonal re‑entries and international rap hits. This placement shows that Capaldi’s ballads continue to cut through the noise and find an audience across Europe. “The Day That I Die” is likely to climb higher in the coming weeks as listeners connect with its emotional depth. For Capaldi, this track reinforces his role as one of the most important balladeers of his generation, proving that his voice and songwriting remain as powerful as ever.
	Zah1de & Benno enter the Euro 200 this week at number 100 with their track “Rede.” Zah1de is a young German/Turkish rapper who has been gaining attention for her sharp wordplay and energetic delivery. She represents a new generation of German hip hop artists who mix traditional rap flows with modern trap influences. Benno, also from Germany, is a producer and collaborator who has been working with emerging talent in the scene, helping to shape a sound that is both raw and polished. Together, they bring a fresh perspective to the German rap landscape, which has become one of the most vibrant in Europe over the past decade. Both artists are in their twenties, and their youth is reflected in the urgency and intensity of their music. “Rede,” which translates to “Speech” or “Talk” in English, is a track that plays with themes of communication, honesty, and confrontation. The lyrics are direct and unapologetic, with Zah1de delivering verses that challenge expectations and push back against criticism. Benno’s production is heavy and bass‑driven, creating a backdrop that feels aggressive but also carefully structured. The beat uses sharp percussion and atmospheric synths to give the track a sense of tension, while Zah1de’s voice cuts through with clarity. The song feels like a declaration, a way of saying that these artists are ready to be heard and will not be ignored. It is both a personal statement and a broader reflection of the energy in German rap right now. Debuting at number 100 in the Euro 200 is an important milestone, especially for artists who are still establishing themselves. It shows that “Rede” has already found an audience across Europe, not just in Germany. For Zah1de, this is a chance to step into the spotlight and prove that her style can resonate beyond her local scene. For Benno, it is further evidence that his production skills are helping to shape the sound of contemporary rap. “Rede” is a bold and confident entry, and its presence in the chart highlights the growing influence of German hip hop on the European stage.
	Orelsan & SDM make a powerful new entry in the Euro 200 this week, debuting at number 115 with their track “Soleil Levant.” Orelsan, born Aurélien Cotentin in 1982, is a French rapper, songwriter, and actor from Caen, Normandy. At 43 years old, he is considered one of the most influential voices in French hip hop, known for his sharp lyrics, storytelling ability, and his ability to mix humor with social commentary. His career took off in the late 2000s, and he has since become a multi‑award winning artist, often compared to the likes of Eminem for his lyrical wit and controversial themes. SDM, whose real name is Beni Mosabu, is a younger French rapper in his late 20s, originally from Clamart near Paris. He has quickly risen in the French rap scene thanks to his deep voice, street‑inspired lyrics, and collaborations with major names like Booba. Together, they represent two generations of French rap, blending Orelsan’s seasoned perspective with SDM’s raw energy. “Soleil Levant,” which translates to “Rising Sun,” is a track that combines introspection with ambition. The lyrics explore themes of renewal, resilience, and the pursuit of light after darkness. Orelsan’s verses are reflective, filled with clever wordplay and cultural references, while SDM brings a harder edge, grounding the track in the realities of urban life. The production is atmospheric, with a beat that balances melodic elements and heavy bass, creating a soundscape that feels both hopeful and intense. The title itself suggests a new beginning, and the song carries that sense of optimism while still acknowledging the struggles that shape personal growth. Debuting at number 115 in the Euro 200 is a strong signal of the track’s immediate impact. French rap has been dominating the charts in recent years, and “Soleil Levant” adds to that momentum by pairing one of the genre’s veterans with one of its rising stars. For Orelsan, it shows his continued relevance and ability to adapt, while for SDM, it marks another step toward solidifying his place among the most important voices of his generation. “Soleil Levant” is more than just a collaboration; it is a symbolic passing of the torch, showing how French rap continues to evolve while staying true to its roots.
	Tream & Gzuz make their debut in the Euro 200 this week at number 126 with the track “Après Ski.” Tream is a German rapper in his mid‑20s who has built a reputation for playful, party‑oriented tracks that often mix humor with catchy hooks. He represents a younger generation of German artists who blur the lines between rap, pop, and dance music, creating songs that are designed to be fun and accessible. Gzuz, on the other hand, is a well‑known figure in the German hip hop scene, born Kristoffer Klauß in Hamburg in 1988. At 37 years old, he is a member of the influential rap collective 187 Strassenbande, famous for their raw street style and uncompromising lyrics. His collaborations often bring a harder edge to tracks, and his presence here adds credibility and weight to what might otherwise be seen as a lighter party anthem. “Après Ski” is a track that leans heavily into the festive, carefree vibe associated with winter holidays and ski culture. The title itself refers to the social activities and parties that happen after a day on the slopes, and the song captures that atmosphere perfectly. Tream delivers playful verses with a tongue‑in‑cheek style, while Gzuz balances it with his grittier delivery, creating a contrast that makes the track more dynamic. The production is upbeat and energetic, using danceable rhythms and bold synths to create a sound that feels like a party soundtrack. It is not meant to be deeply introspective, but rather a celebration of fun, friendship, and letting loose. The combination of Tream’s humor and Gzuz’s street credibility makes “Après Ski” stand out as both entertaining and authentic. Debuting at number 126 in the Euro 200 is a strong sign that the track has immediate appeal, especially as seasonal party songs begin to rise alongside Christmas classics. For Tream, this is another step in establishing himself as a recognizable name in German pop‑rap, while for Gzuz, it shows his versatility and ability to cross into lighter themes without losing his edge. “Après Ski” is likely to become a staple in winter playlists, reflecting the growing influence of German rap and party culture across Europe.
	Alena Omargalieva steps into the Euro 200 this week with her debut at number 129, and the track “Ne P’yana – Zakokhana” immediately signals a fresh voice from Ukraine. Born and raised in Kyiv, Alena is in her late twenties and has been steadily carving out a space in the pop scene with her blend of traditional Slavic melodies and modern electronic production. She is part of a new generation of Ukrainian artists who are determined to bring their language and culture into the European mainstream, and her arrival on the chart is a milestone not just for her career but for the visibility of Ukrainian pop across borders. “Ne P’yana – Zakokhana” translates loosely to “Not Drunk – In Love,” and the title already hints at the playful contradiction at the heart of the song. It is a track that dances between vulnerability and confidence, with Alena’s voice carrying both sweetness and strength. The production is sleek, layering synths and rhythmic beats that give the song a contemporary edge, while her vocal phrasing nods to folk traditions. The lyrics explore the idea of being intoxicated not by alcohol but by the overwhelming rush of love, a metaphor that feels universal yet distinctly personal in her delivery. There is a youthful energy in the track, but also a maturity in how she balances lightheartedness with emotional depth. Landing at number 129 in the Euro 200 is a promising start, especially for an artist who is still building her international profile. The chart is crowded with global names and seasonal re‑entries, yet “Ne P’yana – Zakokhana” manages to stand out as something new and authentic. For Alena, this is more than just a debut; it is a statement that Ukrainian pop can compete on the same stage as French rap, German hip hop, and British ballads. The song’s presence in the Euro 200 suggests that listeners across Europe are ready to embrace voices that bring both cultural specificity and universal emotion. “Ne P’yana – Zakokhana” is a vibrant introduction, and it positions Alena Omargalieva as an artist to watch in the months ahead.
	Dorofeeva appears this week in the Euro 200 with her new entry at number 141, the track “Yaponiya.” Nadya Dorofeeva, better known simply as Dorofeeva, is a Ukrainian pop singer and songwriter born in 1990, making her 35 years old in 2025. She first rose to fame as part of the duo Vremya i Steklo, which became one of Ukraine’s most successful pop projects of the 2010s. Since launching her solo career, she has built a reputation for blending catchy pop hooks with sleek electronic production, while also carrying a strong sense of style and identity that appeals to younger audiences across Eastern Europe. Her solo work often explores themes of independence, love, and cultural pride, and she has become one of the most recognizable female voices in Ukrainian pop. “Yaponiya,” which translates to “Japan,” is a track that plays with imagery of distance, travel, and exotic fascination. The song uses Japan as a metaphor for longing and escape, painting a picture of a place that feels both far away and emotionally close. Dorofeeva’s vocals are smooth and confident, carrying the melody with a mix of vulnerability and strength. The production is modern and polished, with electronic beats and atmospheric synths that give the track a dreamy quality. It is both danceable and introspective, a balance that Dorofeeva often achieves in her music. The lyrics suggest a desire to break free from routine and to find inspiration in something new and unfamiliar, which resonates with listeners who crave adventure and emotional renewal. Debuting at number 141 in the Euro 200 is a significant achievement, especially for a Ukrainian artist competing in a chart dominated by international names. It shows that Dorofeeva’s music is reaching beyond her home country and finding an audience across Europe. “Yaponiya” is more than just a pop song; it is a statement of cultural confidence, proving that Ukrainian artists can stand shoulder to shoulder with global stars. For Dorofeeva, this track is another step in solidifying her solo career and expanding her influence. The combination of her strong identity, relatable themes, and polished sound makes “Yaponiya” a standout among this week’s new entries.
	Rrari Dal Tacco makes his first appearance in the Euro 200 this week, entering at number 165 with the track “Tocco Pitocco.” He is an Italian rapper in his twenties, part of the new wave of artists who are reshaping the country’s hip hop scene. Italy has long had a vibrant rap culture, but in recent years younger performers like Rrari Dal Tacco have been pushing boundaries by mixing traditional rap flows with trap beats, electronic influences, and a distinctly Mediterranean flavor. His style is energetic and direct, often drawing on street experiences and youthful bravado, but also carrying a playful edge that makes his music accessible to a wider audience. “Tocco Pitocco” is a track that immediately grabs attention with its bold title, which loosely translates to “Pitiful Touch” or “Touch of the Pitocco.” The song plays with irony and swagger, presenting Rrari Dal Tacco as both self‑aware and unapologetic. The beat is heavy and bass‑driven, with sharp percussion and a hypnotic rhythm that gives the track a club‑ready feel. His delivery is fast and confident, switching between aggressive verses and catchy refrains that stick in the listener’s mind. The lyrics reflect themes of ambition, resilience, and the contradictions of modern life, balancing humor with grit. It is a track designed to showcase his personality as much as his technical skill, and it succeeds in making a strong impression. Debuting at number 165 in the Euro 200 is a notable achievement for a young artist still establishing his name. The chart is crowded with international stars and seasonal re‑entries, yet “Tocco Pitocco” manages to carve out space, signaling that Italian rap continues to grow in influence across Europe. For Rrari Dal Tacco, this entry is more than just a number; it is a sign that his music resonates beyond his local scene and has the potential to reach a continental audience. “Tocco Pitocco” is bold, playful, and confident, and it positions him as one of the emerging voices to watch in Italian hip hop.
	Rosalía, Estrella Morente and Silvia Pérez Cruz arrive together in the Euro 200 this week at number 166 with “La Rumba del Perdón,” and the entry feels less like a single track and more like a cultural event. Rosalía, born in Barcelona in 1992, is now 33 and has become one of Spain’s most internationally recognized artists, blending flamenco roots with pop and experimental sounds. Estrella Morente, from Granada, is in her early forties and comes from one of the most respected flamenco families, carrying the tradition with elegance and authenticity. Silvia Pérez Cruz, also Catalan, is in her early forties as well and is known for her haunting voice and her ability to move seamlessly between jazz, folk, and flamenco. Three women from different corners of Spain, each with her own artistic identity, joining forces on one track is a rare and powerful statement. “La Rumba del Perdón” is not built like a typical pop single. It feels more like a dialogue between voices, each one carrying its own history and emotional weight. Rosalía brings her modern, daring edge, pushing flamenco into new territory. Morente anchors the song with a voice steeped in tradition, reminding listeners of the genre’s roots. Pérez Cruz adds a layer of fragility and intimacy, her phrasing weaving between the other two like a thread of melancholy. The production is minimal, allowing the voices to dominate, with guitar and percussion providing a rhythmic pulse that feels both ancient and alive. The title, “The Rumba of Forgiveness,” suggests reconciliation, and the song itself feels like a ritual, a meeting point between past and present, innovation and heritage. To see this collaboration enter the Euro 200 at number 166 is significant. It is not just another chart entry; it is a reminder that European music is not only about commercial hits but also about cultural depth. “La Rumba del Perdón” is a track that carries history, emotion, and artistry, and its presence in the chart highlights the richness of Spanish music traditions.
	JC Reyes, Morad and Quevedo storm into the Euro 200 this week at number 172 with “Desde 0,” and the collaboration feels like a snapshot of the Spanish urban scene at its most vibrant. JC Reyes, born in Seville in the late 1990s, is in his mid‑20s and has quickly become known for his raw, emotional delivery and his ability to fuse rap with melodic hooks. Morad, from Barcelona, is also in his mid‑20s and has built a reputation as one of Spain’s most authentic street voices, often rapping about his upbringing and the realities of immigrant life in Catalonia. Quevedo, the youngest of the trio at 23, hails from the Canary Islands and has already achieved international recognition thanks to his global hit “Quédate,” which topped charts across Europe and Latin America. Together, these three artists represent different regions and perspectives within Spain, united by a shared commitment to pushing urban music forward. “Desde 0,” which translates to “From Zero,” is a track about starting over, rebuilding, and refusing to be defined by past mistakes. The song’s energy is relentless, with a beat that blends trap percussion, atmospheric synths, and a bassline that drives the momentum forward. JC Reyes opens with verses that are both confessional and defiant, setting the tone for a track that feels deeply personal. Morad adds grit and urgency, his voice carrying the weight of lived experience, while Quevedo provides the melodic anchor, his smooth delivery balancing the harsher edges of the rap verses. The interplay between the three voices creates a dynamic narrative, one that feels both intimate and universal. It is a song about resilience, ambition, and the courage to reinvent oneself. Debuting at number 172 in the Euro 200 is a strong statement, especially given the crowded field of seasonal re‑entries and international hits. “Desde 0” shows that Spanish urban music is not only thriving but also diversifying, with artists from different backgrounds collaborating to create something fresh. For JC Reyes, Morad, and Quevedo, this track is more than just a chart entry; it is a declaration of intent, a reminder that their voices carry across Europe. “Desde 0” is bold, emotional, and full of momentum, and it positions the trio as leaders in the next wave of Spanish urban music.
	JC Reyes teams up with Slayter for a fresh entry in the Euro 200, landing at number 179 with “Loquita.” JC Reyes, has been steadily building his reputation as one of the most emotional and versatile voices in Spanish urban music. Slayter, a younger artist with Dominican roots, is based in Spain and represents the new wave of Latin‑influenced urban performers. His sound is energetic, playful, and heavily inspired by reggaeton and trap, making him a natural partner for JC Reyes on a track that balances grit with rhythm. “Loquita,” which translates to “Crazy Girl,” is a song that thrives on its mix of passion and swagger. The lyrics paint a picture of a relationship that is intense, unpredictable, and full of fire. JC Reyes delivers verses that are both confessional and bold, his voice carrying a sense of vulnerability even when he raps with confidence. Slayter brings a lighter, more playful energy, his delivery bouncing over the beat with charisma. The production is built around a reggaeton rhythm, layered with trap elements and melodic flourishes that make the track both danceable and emotionally charged. It is the kind of song that works equally well in clubs and in headphones, combining rhythm with storytelling. Debuting at number 179 in the Euro 200 is a meaningful step for both artists. For JC Reyes, it shows that his momentum continues after other collaborations, proving that his voice is versatile enough to adapt to different partners and styles. For Slayter, it is a breakthrough moment, placing him on the continental stage and introducing him to a wider audience. “Loquita” is more than just a catchy urban track; it is a showcase of how Spanish rap and reggaeton are evolving together, blending intensity with playfulness. The chemistry between JC Reyes and Slayter makes “Loquita” stand out among this week’s new entries, and it hints at even bigger collaborations to come.
	Cynthia Erivo and Ariana Grande join forces this week with a striking debut at number 183 in the Euro 200, presenting the track “For Good.” Cynthia Erivo, born in London in 1987, is now 38 years old and has built her career as both an actress and a singer, celebrated for her powerhouse voice and her ability to bring emotional depth to every performance. She won a Tony Award for her role in The Color Purple and has since become a respected figure in film and music, admired for her versatility and artistry. Ariana Grande, born in Florida in 1993, is 32 years old in 2025 and is one of the most recognizable pop stars of her generation. Known for her extraordinary vocal range and her success across multiple albums, she has consistently dominated charts worldwide. Together, their collaboration feels like a meeting of two worlds: Broadway excellence and mainstream pop brilliance. “For Good” is originally a song from the musical Wicked, a duet that explores themes of friendship, transformation, and the lasting impact people have on each other’s lives. In this new rendition, Erivo and Grande breathe fresh life into the piece, blending their voices in a way that highlights both contrast and harmony. Erivo’s soulful, resonant tone anchors the track with gravitas, while Grande’s soaring high notes add brightness and emotional lift. The arrangement is lush but restrained, allowing the vocals to carry the emotional weight. The lyrics, centered on the idea that encounters with others change us forever, feel especially poignant when delivered by two artists who represent different musical traditions yet find common ground in shared storytelling. Debuting at number 183 in the Euro 200, “For Good” is more than just another chart entry. It is a cultural moment, tying the anticipation of the upcoming Wicked film adaptation to the enduring legacy of the stage musical. For Erivo, it is a chance to showcase her voice to a broader pop audience, while for Grande, it is an opportunity to demonstrate her versatility beyond mainstream hits. “For Good” resonates as both a tribute to friendship and a celebration of artistic collaboration, and its presence in the chart underscores the power of musical theatre crossing into the pop mainstream.
	Theodora makes her debut in the Euro 200 this week at number 187 with “Fashion Designa,” and the entry feels like a playful wink to both pop culture and personal identity. Theodora is a French singer in her mid‑20s, part of a new wave of artists who mix glossy pop with urban influences. She grew up in Marseille, a city known for its vibrant music scene, and her style reflects that mix of Mediterranean flair and cosmopolitan ambition. Though still early in her career, she has already been noticed for her bold fashion sense and her ability to turn everyday themes into catchy, relatable songs. “Fashion Designa” is her first major breakthrough on the continental stage, and it introduces her to a wider audience beyond France. The track itself is built around the idea of self‑expression through style. “Fashion Designa” celebrates individuality, turning clothing and appearance into metaphors for confidence and creativity. The beat is upbeat and dance‑ready, with electronic flourishes that give it a modern club feel. Theodora’s vocals are light but assured, carrying the melody with a mix of sweetness and attitude. The lyrics playfully describe the act of designing one’s own identity, suggesting that fashion is not just about trends but about empowerment. It is a song that feels both fun and meaningful, encouraging listeners to embrace who they are and to wear their uniqueness proudly. Landing at number 187 in the Euro 200 is a promising start, especially for a newcomer. The chart is crowded with established stars and seasonal re‑entries, yet “Fashion Designa” manages to carve out space with its originality and charm. For Theodora, this debut is more than just a number; it is proof that her blend of pop and personality resonates across Europe. “Fashion Designa” is catchy, confident, and stylish, and it positions her as an artist who could become a staple in the European pop scene.
	Mero x Amo arrive in the Euro 200 this week with their debut at number 188, bringing the track “ICE” into the spotlight. Mero, born in Rüsselsheim, Germany in 2000, is now 25 years old and has already built a reputation as one of the most successful German rappers of his generation. He first broke through in 2019 with viral hits that showcased his rapid‑fire flow and melodic hooks, quickly becoming a chart regular in Germany and beyond. His Turkish heritage has also shaped his identity as an artist, giving his music a multicultural edge that resonates with diverse audiences. Amo, a younger collaborator also based in Germany, is part of the new wave of rappers who blend trap beats with street‑level storytelling, and his partnership with Mero reflects the collaborative spirit of the current German rap scene. “ICE” is a track that thrives on its energy and immediacy. The title itself suggests coldness, toughness, and luxury, and the song plays with those themes in both its lyrics and production. Mero delivers verses with his trademark speed and precision, weaving between braggadocio and personal reflection. Amo adds grit and intensity, his voice grounding the track with a raw edge. The beat is built around heavy bass and sharp percussion, with icy synths that reinforce the theme and give the track a sleek, modern feel. It is a song designed to capture attention quickly, balancing swagger with atmosphere, and it succeeds in creating a sound that feels both street‑authentic and club‑ready. Debuting at number 188 in the Euro 200 is a meaningful achievement, especially in a week crowded with seasonal re‑entries and international collaborations. For Mero, “ICE” is another reminder of his staying power in the German rap scene, proving that he continues to evolve while maintaining his signature style. For Amo, this entry is a breakthrough moment, placing his name alongside one of Germany’s most recognizable rappers and introducing him to a wider European audience. “ICE” is bold, confident, and stylish, and its presence in the chart highlights the growing influence of German rap across the continent.
	Maître Gims & L2B step into the Euro 200 this week with their debut at number 195, presenting the track “Bloqué.” Maître Gims, born Gandhi Djuna in Kinshasa in 1986 and raised in France, is now 39 years old and one of the most recognizable figures in French music. He first rose to prominence as a member of the rap group Sexion d’Assaut before launching a solo career that blended rap, pop, and Afro‑influenced sounds. Over the years, he has become known not only for his distinctive voice but also for his ability to craft songs that cross genres and appeal to a wide audience. L2B, a younger French rapper in his twenties, represents the new generation of urban artists, bringing raw energy and street‑level authenticity to the collaboration. Together, they embody the mix of experience and youthful drive that defines much of today’s French rap scene. “Bloqué,” which translates to “Blocked,” is a track that captures frustration and resilience in equal measure. The lyrics revolve around obstacles—whether personal, social, or emotional—and the determination to push through them. Maître Gims delivers verses with his trademark melodic rap style, balancing intensity with smoothness, while L2B adds grit and urgency, his voice cutting through the production with sharp edges. The beat is dark and atmospheric, built on heavy bass and minimalist percussion, creating a sense of tension that mirrors the song’s theme. Despite its title, “Bloqué” feels like a song about movement, about refusing to stay stuck, and about finding strength in adversity. It is both a personal statement and a reflection of broader struggles faced by many listeners. Debuting at number 195 in the Euro 200 is a meaningful achievement, especially in a week dominated by seasonal re‑entries and international collaborations. For Maître Gims, it shows his continued relevance and ability to adapt to new sounds and partners. For L2B, it is a breakthrough moment, placing his name alongside one of France’s most established stars and giving him exposure to a continental audience. “Bloqué” is raw, powerful, and determined, and its presence in the chart highlights the ongoing strength of French rap as one of Europe’s most influential genres.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."