Here is this week's Nielsen Marketwatch report which features Canadian music stats for the current week and YTD with comparisons to last year. This chart is published every Tuesday.
By External Source
Here is this week's Nielsen Marketwatch report which features Canadian music stats for the current week and YTD with comparisons to last year. This chart is published every Tuesday. The abbreviation "TEA" is a term used to describe the sale of music downloads or singles. A track equivalent album is equal to 10 tracks, or 10 songs.
Josman
On Saturday night (Mar. 14), France rap heavyweight brought an underground intensity to Place Bell in Laval, turning the arena into something far more intimate than its size suggests.
The crowd packed Place Bell last weekend (Mar. 14) as the Vierzon, France-born rapper Josman — real name José Nzengo — returned to the Montreal area just days after a performance in New York.
But this wasn’t just another stop on his schedule. For Josman, Montreal has always carried a different kind of weight.
Back in 2017, long before arena stages and platinum plaques, Josman performed at the Belmont. Since then, Montreal has quietly grown into one of his strongest North American strongholds.
The city occupies a unique lane in the world of francophone rap — a cultural crossroads between Paris, Brussels, North and West Africa and North America’s own hip-hop ecosystem. Montreal’s bilingual culture, strong immigrant communities and deep rap tradition have turned it into a natural testing ground for artists looking to expand beyond Europe.
The result is a scene where audiences move easily between Parisian trap, Quebec rap and Afro-francophone sounds. Artists test their music here. Audiences show up early. And for years now, Josman has been one of the artists the city rides for.
Inside Place Bell, that connection was obvious.
The crowd was a mix of longtime French expatriates who have followed him since the mixtape days and Quebec fans who discovered him through streaming platforms and social media. Different generations, different entry points — but everyone knew the catalogue.
Josman leaned into that shared history. The setlist moved fluidly between eras, jumping from early underground staples like “Dans le vide” to newer fan favourites like “Œil de la Joconde,” “Ah gars,” and “Ailleurs.” Songs from his early projects hit just as hard as the bigger streaming-era releases, showing just how many fans have been there since the beginning.
But what really defined the night was the atmosphere. Josman kept the stage stripped down and heavy. Dark visuals rolled behind him: fragments of documentary footage, political imagery and reflections on race, colonization and global tensions. The aesthetic remained minimal, almost austere — just lighting, visuals, a DJ and the rapper himself. And that was enough.
For more than 90 minutes, Josman held the stage almost entirely alone. No gimmicks. No backing vocals carrying the performance. Barely any autotune. Just bars, delivered with precision and intensity. In an era where rap concerts often lean heavily on spectacle, the performance felt strikingly raw.
If there’s a comparison to draw, it’s somewhere in the lane of Kendrick Lamar — an artist capable of pairing introspective, socially aware lyricism with music that still resonates with a wide audience. Josman occupies a similarly rare space, where the underground respects him while the mainstream keeps listening.
His rise didn’t happen overnight. Since breaking through in 2013 after winning the End of the Weak freestyle competition, Josman has steadily built one of the most respected catalogues in modern French rap. Early projects like Échecs positifs (2015) and Matrix (2016) — which featured the viral single “Dans le vide” — introduced listeners to his introspective writing over stripped-back trap production.
That momentum carried into major releases like the platinum-certified J.O.$. (2018), Split (2020) and M.A.N (Black Roses & Lost Feelings) (2022), the latter earning recognition at the Les Flammes awards in France.
Today, Josman’s catalogue has surpassed two billion streams, fueled by fan favorites like “J’aime bien!,” “Intro,” and “Loto.”
Josman stepped onto the stage as both a cult figure of the French rap underground and a fully established mainstream artist. The crowd responded in kind — singing along to nearly every lyric and feeding off the intensity of the performance from start to finish.
He also left space for moments of interaction throughout the set, acknowledging the energy in the room. At one point, he paused the show after spotting a group of younger fans forming a dance circle in the crowd, briefly stopping the music to cheer them on as the arena erupted.
The reaction inside Place Bell suggested something larger than just another successful tour stop. It reflected the growing francophone rap bridge running through Montreal — and the connection only continues to strengthen.
