Tiakola Produit de La Courneuve
- Valentina Reynolds
- Jan 20
- 2 min read
Tiakola has started 2026 by releasing two freestyles, PLCTV #1 followed shortly by PLCTV #2. They weren’t introduced as singles, and they didn’t arrive with traditional music videos. Instead, both appeared as long-form reels on Instagram, a format that has quietly become central to how music is being shared and experienced.
Listening to them back to back, they tie into each other in a way that feels intentional. It doesn’t register as two separate tracks placed next to each other, but more like a continuation of the same thought. Even as things shift between the two, there’s a sense that one flows out of the other, as if the second simply picks up where the first leaves off.
PLCTV #1, titled Charismatique, is produced by G. Judd and P2J. The production feels controlled and well judged, leaving space for Tiakola’s delivery to sit naturally. Nothing feels crowded, and the balance between beat and vocal stays steady throughout.
Visually, PLCTV #1 was created by youngnouchi, whose work carries a clear sense of intention. Looking through his wider portfolio and the range of artists he has worked with, that consistency is easy to recognise. The reel feels observational rather than performative, closer to documentation than display.
Everyone involved in the project is credited. Every contributor is acknowledged, reinforcing the sense that this work comes from a close, aligned creative group rather than a disconnected process.
There is no attempt to frame or guide the lyrics. Lines are left as they are, without translation added around them.
Y a toujours une partie deux, dans une partie unC’est bon envoie la musique, envoieEh, eh-eh
Y aura toujours une partie deux dans une partie un.Très tôt, j’ai appris à encaisser, la rue prend, mais la rue donne aussi.
Meaning settles through repetition. Phrases return and sit rather than moving toward a conclusion.
I was reminded of this when I saw Tiakola perform live last year while I was in Brussels. Someone close to me told me I had to go, so I did.
It ended up being one of the most absorbing live shows I’ve experienced, not because of spectacle, but because of how fully the room was involved. The focus wasn’t isolated to the stage. It moved through the crowd and back again.
What stood out most was who he brought out with him - people from his own world. It didn’t feel staged. It felt familiar, as if the stage was simply another place those relationships existed.
That same familiarity runs through the freestyles. Nothing is positioned as a statement or a turning point. They feel like moments caught mid-motion, connected to a wider world rather than separated from it.
Produit de La Courneuve doesn’t read like a slogan. It feels like context. Where he’s from, and what that carries into the music.
The best way I can describe Tiakola is that he’s one of those artists where, as soon as he drops music, you save it before you even listen to it. There’s an instant trust there. You already know what he’s dropped is going to be good. No questions.
And the next thing I’d say is this. If he’s in your city, listen. Get that ticket and go experience him live. It gives everything else another layer. Trust me.