Tiakola was born in the same hospital as Kylian Mbappé. And almost exactly one year after France’s World Cup-winning hero entered the world, Bondy and Paris were blessed with another destined to change his country’s fortunes. The 25-year-old musician is at the forefront of French rap's explosion, captaining a new generation of Parisian artists as they bring their music to the world.

The Parisian rapper started his career with the group 4Keus where his irresistible “mélo” sound first made waves. Although touted for solo success from the jump, he tested the waters through collaborating with artists like Dave and Darkoo, before diving into the studio for his debut 2022 album, “Mélo”. Like him, Tiakola’s melodies were born and raised in Paris’ suburbs and influenced by his Congolese heritage, his siblings’ love of music and, of course, football.

“Most of the football stars in France are from Paris and its suburbs. That means they come with our codes and music” he explains when asked to describe the deep rooted connection between the two. “Even with the French national team: when you see the initiation rituals for players making their first team debuts…what are they singing? Rap! The link to football is obvious.”

Tiakola sat down with VERSUS on the London leg of his first-ever sold out tour to talk about his love for football, childhood hero Thierry Henry, and his hopes for the future of La Mélo.

Football and music share a strong bond. Footballers are seen with musicians more and more, and musicians are regularly referencing football in their lyrics. Why do you think this connection exists?

It’s always been like that. It starts early. For example, I played football. And when I was heading to a game, I’d be listening to rap. Because no music gets you as hyped as rap does. So naturally, a football player wants to link up with the rapper and understand their environment. And vice versa, rappers love football. Because in our neighborhoods, I’m not saying it’s the only two options, but we often start with dreams of becoming footballers, and only later do we turn to music. But the first choice is always football. Even with the French national team, when you see the initiation rituals for players making their first selection, what are they singing? Rap. So the connection is obvious! It’s a mindset. And in the U.S., you’ll see the same thing with basketball.

‍Kylian is also one of the many footballers who have shown you support. How does it feel to see your music played in the most prestigious locker rooms in world football?

When I was playing football, I was already the kind of guy who hyped up the locker room. Before Kimpembe, I was Kimpembe! So I know how to get the football players vibing — sometimes, I even drop tracks knowing they’ll vibe with it. So, I’m surprised, but not really. It always feels good, though.

Plus nowadays, most of the football stars in France are from Paris and its suburbs. That means they come with our codes and our music. Actually, that’s part of why La Mélo can go even further. Because when Camavinga plays a track in the locker room, maybe Vinícius will like it, and indirectly, he’ll spread it in Brazil. We never know. I remember, for example, that my track “Gasolina” got a huge boost in 2022 after Real Madrid’s Champions League win, mainly because Camavinga played it in the locker room!

France and England have never been so culturally connected, and you have contributed to this movement through your tracks featuring Dave and Darkoo, as well as your collaboration with Corteiz for the merch of your joint album with Gazo. Why does this connection make sense to you?

Well, first of all, we’re not far from each other, geographically. And when you see the way they dress, how they live, their codes…it’s pretty much the same as us. Even though we’re different in a lot of ways, we have enough in common to recognize ourselves in each other. I also feel like people from London have more of an interest in French and Parisian culture. A guy like Central Cee, for example, he’s been to Paris a lot. He linked up with Freeze, with JRK 19. When it’s Fashion Week, it feels like they stay in the city longer than others just so they can actually catch the vibe of our city.

Do you think football culture plays a role in this? 

Of course, it plays a big role. They went crazy over players like Makélélé in the Premier League, Gallas, Henry, and so on. At one point, on social media, there were a lot of debates between Rashford and Mbappé, Camavinga doing campaigns for Corteiz as well. Naturally, it creates this cultural exchange. We automatically have something to talk about.

‍The shoot was based on iconic Thierry Henry references. When you think of someone like Henry what comes to your mind? 

I was a bit too young to fully experience the Invincibles season, but as I grew up, Henry left too many iconic moments. The Arsenal T90 jersey, the celebrations at the corner flag. It’s classic. He’s a legend who represents both London and Paris. He also represents the suburbs. And above all, his confidence. He was so sure of himself. That’s what he inspires in me: self-confidence. He knows how skilled he is and never lets anyone intimidate him.

‍You’re currently on your first world tour, with a major stop at the Roundhouse in London. How does it feel to meet your audience abroad?

It makes me happy. I’m glad to see that they know my music, they’re interested in me, and that they’re looking forward to what’s next. I’m also surprised! I mean, selling out every date? That’s crazy. It’s something I’ll remember forever.

Tiakola wears Bottega Veneta, Yenesai, AKILA, Diemme Footwear and Nike.

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Photography: Emily White Garay
1st Asst: Bella Armora
2nd Asst: Gabby Thomas
Art Director: Morgan Allan
Set Design: Isaac Ashley
Asst: Charles Mensah
Stylist: Ellie Rimmer
HMUA: Teresa Reynolds
Movement Director: Yohana Mehretab
Producer: Amie Cripps
Interview: Lenny "Deuzenn" Sorbe
PR: Seb Burford

VERSUS: Tell us about your early years in ‘La Courneuve’ and the place music held in your memories.

Tiakola: Since we started young, most of my memories are with the group. My childhood was basically a crew of friends rapping together in 2015, blowing up fast in 2017, then splitting up. After that, everyone went their own way. Before then, I was surrounded by all kinds of music. My brothers were into 90s rap — Nas, Tupac, Biggie, Bone Thugs-N-Harmony, you name it. My sisters leaned more towards R&B, while my parents played a lot of rumba and gospel. So just stepping out of my house, I already had a lot of different sounds in my head. Outside, I was with my boys listening to French rap. At home, TV channels like Trace TV or MTV put me onto pop songs I really vibed with — Coldplay, Maroon 5, that kind of stuff. I soaked it all in. From that point on, music became a daily thing. On my way to school, I had music on. On my way to football, I had music on. It was always there.

You are the main ambassador of "melo," a new subgenre. How would you define this sound and its influences?

That’s a great question. [pauses to think] “La Mélo,” that’s me — it’s all the influences I just mentioned. It’s like walking through every room in my house. But since I also grew up on ndombolo, I might bring that “rapper” energy to a ndombolo track. Some days, I’m in the mood for doing R&B harmonies; other times, the melody comes from an instrumental whilst I come in more aggressively. It’s not fully rap, not fully singing…Tayc, for example, he sings. Me, I’ve got rapper flows. I pull from everywhere, and in the end, that’s what La Mélo is.

It’s a new sound that’s been introduced, and now, everyone has their own way of doing it, their own balance. People debate, "is it rap? Is it not rap?" It’s our music, that’s it. When Chief Keef came through with drill, that was his thing, period. He couldn’t have explained it any other way.

Do you remember when you first discovered your gift for melodies?

Like I told you, with all the influences I had, the first time I stepped into a studio, I didn’t know anything about 16-bar verses, 12-bar verses — any of that. But I knew when a track was good. It was all instinct. With the group, we just lacked structure and practice. But the more time we spent in the studio, the more we found our sound.

One day, I laid down a verse, added some harmonies, and the guys went crazy. It just happened naturally — it was already in me. They were the ones who started calling me "La Mélo" because I was solid on the hooks. I was like Henry — the one you count on to make a difference. They told me, “you’re the melody guy. You’re La Mélo.” Then you go back to the neighborhood, and the name just sticks, you know?

Since the beginning of your career, you've been the ultimate team player: first evolving in a group before standing out through numerous collaborations. Do you like to approach music with a collective, like it’s a team sport?

Exactly. For me, music is all about sharing. Every feature I’ve done — whether it’s with Dadju, Tayc, or Niska — has been about exchanging energy and blending cultures. We may not come from the same place, but we grew up listening to the same things. I always love realizing that we share the same influences, the same references. 

I think I’m good at collaborations because I understand other people’s music. Even before stepping into the studio, just by listening to their work, I can tell what they’ve been influenced by. And in the process of collaborating, you learn a lot. 

With BDLM vol. 1, it's as if you decided to take on the captain's armband for a new generation of artists. What made you feel like you were ready for it?

When I dropped Mélo, I never imagined the album would have such an impact. With BDLM, I had no choice but to own it. I told myself, "there have been so many debates about what this sound is, but in the end, a lot of us are making this music — so why not turn it into a movement?" 

We need to move forward together and take this as far as possible. That’s what I see in Afrobeats — Rema, Burna Boy, Wizkid — they all do their own thing, but in the end, they’re part of the same wave. I want the same for La Mélo. Right now, the spotlight is on me, but I want people to see beyond just me. Take an artist like Prototype — he started in 2015, pretty much at the same time as me, but he didn’t get the same commercial success. That’s why I’m proud we’re celebrating together today with PONA NINI, one of the standout tracks on the project. But I have to own this because the facts are there.

Today, if you go to any neighborhood in France, you’ll see a lot of kids who look like me — and I’m not just talking musically. I can’t hide from that.

What does it take to be a leader?

I don’t know if I’d call myself a “leader”. I mean, yeah — I’m a leader of what I do, in my own lane, with M3lo World. But in my mind, just because my music influences other artists doesn’t mean I’m here to guide their careers. That being said, if they see me as a leader, I’ll accept the role.

In the French national team, Kylian Mbappé recently inherited the captain’s armband. Like him, you're from the 93, about the same age, and both wonderkids who have chosen to take on heavy responsibilities. Is he someone you can identify with?

Of course. Having seen him a couple of times, I pay close attention to what he does. I really watch him, knowing the weight he carries on his shoulders. Bro, it’s intense. But he owns it — he doesn’t back down. Look at him now — he’s at Real Madrid! His first steps were tough, he had to find his footing. On my side, I’m going independent, and it’s the same thing. It’s not easy. I see a lot of parallels between football and music. I relate to his choices, his mindset, the situations he finds himself in. I can only respect that.