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	Current EURO200
	New entries in the EURO200                                       Review for week 39 - 2025
	At position #36 in this week’s Euro 200 chart, the track “Andere Niveau” by Bobby Vandamme and 3robi makes a striking debut. The title, which translates to “Different Level,” sets the tone for a song that’s all about asserting dominance and rising above the rest. It’s a bold, multilingual street anthem that blends Dutch, German, and Arabic influences into a confident declaration of status. Bobby Vandamme, born Ramadan Demiri, is a Moroccan-German rapper from Nuremberg. He was discovered by Farid Bang through the talent show Instalent, and later gained attention in the newcomer contest Icon 4. His early solo releases, like “Ronaldinho,” quickly racked up millions of views and earned him chart placements in Germany. In 2023, he became the first new signing in four years to Farid Bang’s label Banger Musik, marking a major step in his career. Vandamme’s style is direct and cinematic, often referencing urban life, diaspora identity, and the hustle mentality. 3robi, his collaborator on “Andere Niveau,” is a Dutch-Moroccan rapper known for his sharp flow and multilingual rhymes. He’s a fixture in the Netherlands’ hip-hop scene and brings a complementary energy to Vandamme’s delivery. The chemistry between the two is evident—they trade verses with precision, each reinforcing the track’s central theme of being untouchable and elite. The production is intense and atmospheric, with dramatic strings and heavy bass that give the song a sense of urgency. Lyrically, it’s packed with references to cities like Tanger, Casablanca, Frankfurt, and Amsterdam, painting a picture of a transnational lifestyle that’s both gritty and aspirational. Lines like “Illegal, Tanger, General Vandamme” and “In deze life ik heb overzicht” (“In this life I have overview”) reflect a mindset of control and awareness in a chaotic world. “Andere Niveau” isn’t just a song—it’s a statement. Its debut at #36 signals that listeners across Europe are tuning in to this new wave of culturally rich, street-smart rap.
	At position #62 in this week’s Euro 200 chart, the track “Un Monde À L’Autre” marks a high-profile debut by GP Explorer, Maître Gims, La Mano 1.9, and SCH. This collaboration is more than just a song—it’s the official soundtrack for GP Explorer – The Last Race, a Formula 4 racing event organized by French YouTuber Squeezie. The track blends rap, pop, and cinematic flair into a fast-paced anthem that mirrors the adrenaline of motorsport. Maître Gims, born Gandhi Djuna in Kinshasa, Congo, and raised in France, is one of the most successful French-speaking artists of the past decade. Known for his deep voice and genre-blending style, he’s a former member of the rap group Sexion d’Assaut and has since built a solo career with multi-platinum albums. SCH, whose real name is Julien Schwarzer, is a French rapper from Marseille. His style is moody, lyrical, and often cinematic, with references to crime, luxury, and introspection. La Mano 1.9 is a lesser-known but rising figure in the French drill scene, bringing raw energy and street realism to the track. GP Explorer, in this context, is not a musical artist but the name of the racing event itself. The inclusion of its name in the artist credit reflects the promotional nature of the song—it’s designed to embody the spirit of the race and its cultural impact. The lyrics reference horsepower, speed, and transformation, with lines like “Passer d’un monde à l’autre” (“Crossing from one world to another”) repeated like a mantra. SCH compares himself to Optimus Prime and Chapo Guzmán, while Gims reflects on fame and emotional struggle. The production, handled by Sokol and Eliyel, is sleek and cinematic, with heavy bass and orchestral touches. It’s a track that feels like motion—fast, intense, and dramatic. Its debut at #62 shows strong initial traction, likely boosted by the event’s popularity and the star power of its contributors.
	Imagine this: a song that doesn’t try to impress you with fireworks, but instead hands you a faded Polaroid and says, “Remember this?” That’s the quiet magic of “Camera,” Ed Sheeran’s latest single, which enters the Euro 200 at #73. It’s not a banger—it’s a memory. And it doesn’t need to shout to be heard. Sheeran, now 34, has long mastered the art of turning personal moments into universal truths. With “Camera,” he leans into nostalgia, not with sentimentality, but with precision. The lyrics are a soft meditation on love and memory, built around the idea that the most vivid moments aren’t captured by lenses—they live in us. “I don’t need a camera to remember you” is the line that anchors the song, and it’s delivered with the kind of sincerity that’s become Sheeran’s trademark. The track is part of his eighth studio album Play, released on 12 September 2025. It was co-written with Andrew Watt, Louis Bell, and David Hodges—songwriters who’ve shaped hits across genres. The production is subtle and warm, with acoustic textures and ambient flourishes that feel like sunlight through curtains. It’s a sonic scrapbook, stitched together with care. But what makes “Camera” stand out isn’t just the song—it’s the video. Instead of casting his real-life partner Cherry Seaborn, Sheeran chose actress Phoebe Dynevor to recreate intimate moments from their relationship. Shot entirely on an iPhone in Croatia, the video blurs the line between fiction and truth, making the viewer question what’s real and what’s remembered. It’s a clever move: using a device designed to document reality to tell a story that’s emotionally true, even if visually staged. “Camera” doesn’t chase trends. It doesn’t need to. It’s the kind of song that sneaks up on you, like a scent that reminds you of someone you loved. And in a chart full of noise, its quietness is its strength.
	There’s no gentle way to enter a track called “Money Machine.” It doesn’t tiptoe in—it kicks the door open. Debuting this week at #119 in the Euro 200, the song by Sick Luke featuring Lazza and Tony Effe is a brash, high-octane celebration of wealth, swagger, and street-coded ambition. It’s not trying to be subtle. It’s trying to be unforgettable. Sick Luke, born Luca Antonio Barker, is a Roman-American producer known for shaping the sound of Italian trap and hip-hop over the past decade. His production style is cinematic, often blending orchestral elements with heavy beats and moody synths. “Money Machine” is part of his 2025 album Dopamina, which showcases his versatility—from introspective ballads to tracks like this one that feel like pure adrenaline. Lazza, whose real name is Jacopo Lazzarini, is a Milan-born rapper and pianist. He’s known for combining classical music training with sharp, modern lyricism. His verse in “Money Machine” is full of contradictions: spending millions to laugh, making more to avoid crying. It’s a portrait of someone who’s made it, but hasn’t stopped running. Tony Effe, a member of the Roman collective Dark Polo Gang, brings the raw edge. His lyrics are provocative, laced with references to drugs, luxury brands, and football icons like Dybala and Totti. Together, the trio forms a volatile mix of style, grit, and bravado. The track’s hook—“Ne faccio due, ne spendo tre, simsalabim”—translates roughly to “I make two, I spend three, simsalabim.” It’s a mantra of excess, delivered with the kind of confidence that borders on reckless. But beneath the surface, there’s a deeper theme: the relentless pursuit of success, and the toll it takes. The “money machine” isn’t just a metaphor for wealth—it’s a symbol of motion, of never stopping, of being consumed by the grind. “Money Machine” doesn’t ask for approval. It assumes it. And with its debut at #119, it’s clear that listeners are buying in.
	Some songs feel like a diary entry left open on a park bench. “Erster Sommer Ohne Dich,” which enters the Euro 200 this week at position #139, is exactly that kind of track—intimate, raw, and full of quiet ache. It’s the latest release from Pashanim, a rapper from Berlin who’s become one of the most distinctive voices in German hip-hop. Born Can David Bayram, Pashanim is known for blending street realism with poetic introspection. He rarely gives interviews and keeps his public persona minimal, which only adds to the mystique surrounding his music. His lyrics often reflect life in Berlin’s inner districts, where beauty and hardship walk hand in hand. “Erster Sommer Ohne Dich” (translated: “First Summer Without You”) is no exception. It’s not a breakup song in the traditional sense—it’s more like a snapshot of emotional dislocation, where the heat of summer contrasts with the coldness of absence. The production, handled by Stickle, is understated but atmospheric. There’s a dreamy quality to the beat, with soft synths and a laid-back rhythm that lets Pashanim’s voice take center stage. He raps about walking through his block in Air Max sneakers, carrying bags, trying to keep his head above water. The city is hot, but the people are cold. That juxtaposition runs through the entire song, painting a picture of someone trying to move forward while stuck in emotional rewind. One of the most striking lines is: “Sie sagt: ‘Du liebst mich nicht’, ich würd gern sagen: ‘Doch’, doch müsste lügen” (“She says: ‘You don’t love me,’ I’d like to say ‘I do,’ but I’d be lying”). It’s delivered without drama—just quiet resignation. That’s what makes it hit so hard. There’s no posturing here, no bravado. Just a young man admitting that he’s not who someone hoped he’d be. “Erster Sommer Ohne Dich” doesn’t explode onto the chart—it drifts in like smoke. But its arrival at #139 suggests that listeners are tuning in to something deeper than just a catchy hook. They’re hearing a story. And maybe, they’re seeing a bit of their own in it.
	Some songs are written to be sung. Others feel like they were meant to be whispered in the dark. “Senza una stupida storia,” which enters the Euro 200 this week at position #141, belongs to the latter category. It’s the newest single from Achille Lauro, the Roman singer-songwriter known for his genre-defying style and theatrical flair. But this time, he’s stripped things down—not in sound, but in sentiment. Released on 12 September 2025, the track is the first single from the deluxe edition of Lauro’s seventh studio album Comuni Mortali. It’s a power ballad, but not in the traditional sense. There’s no soaring chorus or dramatic crescendo. Instead, it’s built around quiet devastation—the kind that creeps in after the end of something you thought would last. Lauro wrote the song between Milan and Los Angeles, and you can feel both cities in the music: the introspective chill of northern Italy and the cinematic melancholy of California nights. The lyrics are deeply personal. Lauro has said he wanted to challenge the idea of love as a totalizing force—something that consumes you, defines you, and ultimately erases you. He’s been there, he admits. But “Senza una stupida storia” is his way of saying: never again. One line stands out like a scar: “Che bella una fine senza te, senza limiti, liberi” (“How beautiful an ending without you, without limits, free”). It’s not bitter—it’s liberating. The production, led by Danien and Gow Tribe, is lush but restrained. Strings swell beneath Lauro’s voice, which is more vulnerable than usual. There’s no mask, no alter ego. Just Lauro, reflecting on a love that was more illusion than truth. The music video, directed by Gabriele Savino, mirrors this tone: minimal, intimate, and emotionally raw. With its debut at #141, “Senza una stupida storia” may not be Lauro’s biggest hit, but it might be one of his most honest. It’s not a song about heartbreak—it’s a song about reclaiming yourself after it.
	Sliding into the Euro 200 at position #146, “Viens On Essaie” by Vitaa and Julien Doré doesn’t arrive with a bang—it glides in like a late summer breeze that carries the scent of something familiar, yet unexpected. This duet, released on 10 July 2025, is a meeting of two distinct voices in French pop: Vitaa, known for her emotional clarity and vocal strength, and Julien Doré, whose poetic flair and mellow delivery have made him a staple in the French music scene. Vitaa, born Charlotte Gonin, has been active since the early 2000s and is one of France’s most successful female artists, with multiple platinum albums and collaborations with stars like Slimane and Diam’s. Julien Doré, born in 1982 in Alès, rose to fame after winning Nouvelle Star in 2007 and has since built a career on introspective songwriting and genre-blending albums. Their collaboration here is a surprise, but one that feels strangely inevitable—two artists who understand the power of vulnerability. “Viens On Essaie” (translated: “Let’s Try”) is a gentle push toward emotional honesty. The lyrics explore the tension between desire and hesitation, between wanting to connect and fearing the consequences. Vitaa sings of confusion and emotional risk, while Doré counters with playful defiance and charm. Their voices intertwine in the chorus, not in perfect harmony, but in a kind of conversational dance. It’s less about resolution and more about the beauty of trying, even when the outcome is uncertain. The production, by Renaud Rebillaud, is sleek and understated. There’s a soft groove beneath the surface, with subtle electronic touches and acoustic warmth. It’s the kind of track you’d play on a long drive, windows down, heart slightly ajar. The music video, directed by Brice VDH, adds another layer: the two artists in a caravan, searching for inspiration, exchanging glances that say more than words. “Viens On Essaie” isn’t revolutionary, but it doesn’t need to be. It’s a quiet reminder that sometimes, the most courageous thing you can do is simply show up and say, “Let’s try.”
	Some tracks are built for the club. Others are made for the car stereo, windows down, volume up. “Mode Avion,” debuting this week at #167 in the Euro 200, is unapologetically the latter. It’s the kind of song that doesn’t ask you to dance—it dares you not to. A collaboration between DJ Kawest and L2B, the track is a celebration of nightlife, swagger, and selective silence. The title translates to “Airplane Mode,” and that’s exactly the vibe: disconnected from drama, tuned into pleasure. DJ Kawest is a French producer and DJ whose style blends Afrobeat, dancehall, and French rap. He’s part of the new wave of artists pushing “shatta” rhythms into the mainstream—a genre rooted in Caribbean dancehall but reimagined through a European lens. “Mode Avion” is featured on his debut album Hybride, released in 2025, which showcases his versatility across club-ready bangers and melodic grooves. L2B, the featured artist, is part of the L2B Gang collective, known for their energetic performances and streetwise lyrics. While detailed biographical info on L2B is limited, their presence in the French urban scene is growing fast, especially among younger audiences. The lyrics of “Mode Avion” are a cocktail of party imagery and emotional detachment. The refrain—“J’me mets en mode avion, quand elle m’appelle” (“I switch to airplane mode when she calls”)—sets the tone: tonight is for celebration, not confrontation. There’s mention of Hennessy, VIP lounges, and dancing to Vybz Kartel, all wrapped in a beat that pulses with tropical heat. The verses are playful and flirtatious, with references to zouk dancing, Latin beauty, and designer clothes. It’s a track that thrives on excess, but never loses its cool. The music video, directed by William Thomas, amplifies the vibe: neon lights, fast cars, and a crowd that moves like one organism. It’s not just a party—it’s a statement. “Mode Avion” says: if you’re not here to vibe, you’re not on the guest list.
	There’s a certain kind of song that feels like it was written under strobe lights, with sweat on the walls and strangers dancing like they’ve known each other forever. “Only You,” debuting at #169 in the Euro 200 this week, is exactly that kind of track—a euphoric, pulsing celebration of connection, crafted by Australian acts Shouse and Cub Sport. Shouse is a Melbourne-based electronic duo made up of Ed Service and Jack Madin. They broke through globally in 2021 with “Love Tonight,” a slow-building house anthem that became a viral sensation and earned multi-Platinum certifications. Their music often blends club rhythms with emotional depth, creating tracks that feel both communal and personal. “Only You” is part of their debut album Collective Ecstasy, released in July 2025—a 13-track tribute to dancefloor unity and shared joy. Joining them on this single is Cub Sport, an indie-pop band also from Brisbane, fronted by Tim Nelson. Known for their dreamy soundscapes and queer-positive lyrics, Cub Sport brings a layer of vulnerability to the track. Nelson’s vocals are airy and intimate, floating over the beat like a whispered promise. He’s described the collaboration as “fun as hell,” especially the chance to “ad-lib the house down boots”—a nod to the playful energy he injects into the song. Lyrically, “Only You” is about longing and emotional exclusivity. Lines like “Only you can love me like you do” repeat like a mantra, anchoring the track in a kind of romantic hypnosis. But it’s not just about love—it’s about the need to not dance alone, to find someone who moves to the same rhythm. The production is lush and Balearic, with shimmering synths and a beat that feels tailor-made for sunset sets in Ibiza. “Only You” doesn’t reinvent the genre—it refines it. It’s a reminder that sometimes, the most powerful moments happen when the lights are low, the music is loud, and someone reaches for your hand. Its debut at #169 suggests it’s already finding its way into those moments across Europe.
	Some songs are born from heartbreak. Others are born from heat. “Gabriela,” which enters the Euro 200 this week at position #175, is both. It’s the second single from Katseye’s EP Beautiful Chaos, and it’s a sultry, Latin-infused pop track that simmers with jealousy, longing, and emotional fire. Katseye is a six-member girl group formed through The Debut: Dream Academy, a global talent project backed by HYBE, Geffen Records, and UMG. The members—Daniela, Lara, Manon, Megan, Sophia, and Yoonchae—hail from the United States, the Philippines, Switzerland, and South Korea. That international makeup is reflected in their sound: sleek pop production layered with multilingual flair and genre-blending ambition. “Gabriela” was released on 20 June 2025 and quickly gained traction in Southeast Asia, reaching the top ten in Malaysia, the Philippines, and Singapore. The song was written by a powerhouse team: Andrew Watt, John Ryan, Ali Tamposi, Charli XCX, and Sara Schell2. It’s no surprise, then, that the track feels polished and emotionally charged. The lyrics tell the story of losing a lover to someone else—delivered with a mix of vulnerability and defiance. Critics have called it a Gen-Z version of “Jolene”, and that comparison fits: it’s a plea, a confrontation, and a confession all rolled into one. Daniela’s Spanish verse, sung in falsetto, adds a layer of intimacy and cultural depth. The production is rich with Latin guitar flourishes and R&B textures, creating a soundscape that’s both modern and timeless. The music video, directed by Andrew Thomas Huang, leans into telenovela aesthetics, with dramatic lighting, retro hairstyles, and a cameo from Jessica Alba. It’s theatrical, but never overdone—just like the song itself. “Gabriela” doesn’t just mark a chart debut at #175. It marks Katseye’s arrival as a group capable of blending global influences into something fresh, fierce, and emotionally resonant.
	Some tracks don’t just play—they detonate. “Mayday,” which enters the Euro 200 this week at position #182, is one of those songs. It’s a collaboration between Sick Luke and Capo Plaza, two heavyweights in the Italian hip-hop scene, and it lands like a flare in the night: urgent, explosive, and impossible to ignore. Sick Luke, born Luca Antonio Barker, is a Roman-American producer who’s been shaping the sound of Italian trap for over a decade. His style is cinematic and layered, often blending orchestral drama with street-level grit. “Mayday” is part of his 2025 album Dopamina, a project that explores emotional extremes through genre fusion and bold collaborations. Capo Plaza, born Luca D’Orso in Salerno, is one of Italy’s most prominent rappers. Known for his direct flow and introspective lyrics, he brings a raw intensity to the track that matches Sick Luke’s dark production. The title “Mayday” isn’t just a catchy phrase—it’s the international distress signal. And that’s exactly what the song feels like: a cry for help wrapped in bravado. Capo Plaza’s verses are packed with tension. He raps about arriving in Rome like a refugee, navigating hate-filled spaces, and living a life where one false move could mean disaster. Lines like “Sto vivendo e sto rischiando, è la mia life / Basta solo un passo falso e poi mayday” (“I’m living and risking, it’s my life / Just one wrong step and then mayday”) capture the precariousness of success in a world that’s constantly shifting. The beat is built on hard-hitting 808s and eerie melodies, creating a soundscape that feels like a chase scene in a noir film. There’s no resolution—just motion. The tension never breaks, and that’s the point. “Mayday” isn’t about escape. It’s about surviving the storm, even when the sirens are blaring. With its debut at #182, “Mayday” proves that Sick Luke and Capo Plaza aren’t just making music—they’re making statements. And this one’s loud.
	It doesn’t start with a beat. It starts with a planet stopping. That’s the first line of “Cometa,” the debuting track by Babasha that enters the Euro 200 this week at position #195. And from that moment on, the song doesn’t walk—it floats. It’s not just a love song. It’s a gravitational shift. Babasha is a rising star in the Romanian music scene, known for blending traditional manele influences with modern pop and trap aesthetics. His voice is full of emotion, and his lyrics often carry a mix of romantic intensity and playful charm. “Cometa,” released on 4 September 2025, is one of his most successful singles to date, racking up millions of views within days and trending across Romanian platforms2. The song’s title—“Cometa,” meaning “Comet”—is more than metaphor. It’s the central image around which the entire track orbits. Babasha sings of a woman so radiant and rare that her arrival feels cosmic. The lyrics are poetic and vivid: “Uite-așa s-a oprit toată planeta / De când mi-ai lovit cometa” (“Just like that, the whole planet stopped / Since you hit me with your comet”). It’s a declaration of love that feels larger than life, yet deeply personal. Musically, the track is built on warm synths, a mid-tempo beat, and melodic hooks that linger. Produced by Basa, the arrangement is clean but emotionally rich, allowing Babasha’s vocals to shine. There’s a softness to the instrumentation that contrasts with the intensity of the lyrics, creating a balance between dreaminess and urgency. The video, directed by Bogdan Păun, leans into this celestial theme. It’s full of soft lighting, romantic imagery, and a sense of wonder. Babasha appears not as a performer, but as someone caught in the orbit of something bigger than himself. It’s theatrical, but never overdone. “Cometa” doesn’t just mark Babasha’s arrival on the Euro 200—it marks his transformation from local favorite to continental contender. At #195, the comet has landed. And it’s leaving a trail.
	It doesn’t open with thunder. It is the thunder. “Uragani,” which enters the Euro 200 this week at position #198, is Clara’s latest single—and it’s not here to ask how you feel. It’s here to tell you how she does. Loudly, honestly, and without apology. Clara Soccini is a rising Italian singer-songwriter and actress, born in 1999. She first gained national attention through her role in the hit TV series Mare Fuori, and quickly transitioned into music with a voice that blends vulnerability and strength. Her breakout moment came at Sanremo Giovani 2024, and since then she’s earned gold and platinum certifications for collaborations with artists like Mr. Rain and Matteo Paolillo. “Uragani,” released digitally on 5 September 2025, is her most personal track to date. The title means “Hurricanes,” and the metaphor runs deep. Clara co-wrote the song with Alessandro La Cava and Federica Abbate, and it’s produced by ITACA—the team founded by Merk & Kremont. The lyrics describe a toxic relationship that’s equal parts passion and destruction. It’s not a breakup song. It’s a survival anthem. Clara sings of being pulled into a storm, of loving someone who breaks you, and of finally choosing to walk away. One line hits like lightning: “Uragani dentro me, ma ora scelgo me” (“Hurricanes inside me, but now I choose myself”). Musically, the track blends pop and contemporary R&B with a dark, danceable edge. The beat pulses like a racing heart, and Clara’s voice moves between softness and fury. There’s a lyric video directed by Martina Amoruso, and a full music video choreographed by Gabriele Esposito, both of which lean into the storm imagery—wind, water, movement, chaos. But Clara stands still in the center, calm and clear. “Uragani” isn’t just a song—it’s a declaration. At #198, it’s just entering the chart, but emotionally, it’s already at full force. Clara isn’t asking to be heard. She’s making sure you can’t ignore her.
	Tyler, The Creator doesn’t release songs. He drops portals. “Sugar on My Tongue,” which enters the Euro 200 this week at position #200, is less a track and more a fever dream in neon. It’s the second single from his ninth studio album Don’t Tap the Glass, and it’s Tyler at his most unfiltered, unhinged, and—somehow—most danceable. Born Tyler Okonma in Los Angeles, he’s now 34 and a decade past his Odd Future days. But the wildness hasn’t dulled—it’s just evolved. “Sugar on My Tongue” is a genre cocktail: hip-hop laced with electro, Italo disco, post-disco, and funk. The synths shimmer like chrome, the 808s rumble like distant thunder, and Tyler’s voice rides the beat with a “run-on flow” that feels like a manic monologue from someone who’s both in love and losing it. Lyrically, it’s a lust anthem. Tyler raps about oral sex with the kind of theatrical flair that only he can pull off. Lines like “Don’t need no air, I stay down there till I fade” and the ad-libbed “Girl I’m dead” are delivered with a wink and a snarl. It’s raunchy, yes—but also weirdly tender. There’s joy in the chaos, and a kind of vulnerability buried beneath the bravado. The music video, directed by Tyler himself, leans into BDSM aesthetics, with surreal visuals and saturated colors that feel like Kubrick on MDMA. It’s not just provocative—it’s playful, self-aware, and deeply stylized. Tyler isn’t just performing—he’s curating an experience. Critics have called the track “exuberant,” “fuzzy,” “raucous,” and “horny-as-hell”. But what makes it stick isn’t the shock value—it’s the groove. “Sugar on My Tongue” is built for summer nights, for sweaty rooms, for moments when inhibition dissolves and instinct takes over. At #200, it’s the lowest new entry this week. But Tyler’s never cared about placement. He cares about impact. And this one? It leaves a mark.
	Look at last week's reviews here
	"The Hitmaster: mastering the rhythm of chart-topping hits."