The French artist of Malian origin, who is the first Frenchwoman to have his Bratz doll, continues his dizzying ascent since his memorable Olympic performance of 2024. The new data of the streaming platform confirm what many foresee: it now belongs to the very closed circle of international superstars.
Vetero, the UN Tsunami Musical Venu de France
The announcement had the effect of a bomb. For the first time, YouTube Music made public his listening monthly statistics, revealing figures that go beyond understanding. The creator of tubes like “Djadja” et “ Pookie“Brought together each month an audience of 291 million listeners across the globe, a score which propels it directly to the top of the world musical hierarchy.
This exceptional result is the place in front of monuments of the song that no one imagined seeing a dethroned day. Taylor Swift, however undisputed queen of the American charts, finds himself relegated to 290 million listening. The Weeknd, with its 262 million listeners, also goes behind the French. Even more surprising, legends like Michael Jackson (242 million) and Beyoncé (207 million) are largely distant by this 29 -year -old young woman who sings mainly in French.
In France, domination is even more overwhelming. Gims, its closest national competitor, caps at 175 million monthly listenings, digging a gap of more than 100 million. The other figures of French rap – Jul, Ninho, Gazo – evolve in much lower spheres, with audiences oscillating between 7 and 15 million listeners.
This extraordinary performance positions Aya Nakamura as the third black artist most listened to on the platform, only preceded by Rihanna (307 million) and Doechii (332 million).
Faced with controversies, the unwavering support of his fans
Despite this triumph, the interpreter of “Girlfriends“It remains to be confronted with recurring criticisms that mark out his career. Social networks continue to be the scene of attacks often tinged with prejudices, questioning the legitimacy of his success or attacking his origins.
This hostility is no exception to its supporters, who multiply support messages. “The fact thata is standing after all these years of critic fascinates me, (…) The comments are horrible each time, they do not think about the fact that it is a real person who will read them”deplores a surfer moved by the artist’s resilience. Others do not hesitate to celebrate its success with pride: “And to say that people still doubt … Do not get on the train, there is no more room.”
The one who performed last year at the opening ceremony of the Paris Olympics had also entrusted in an interview to Billboard France: “I wonder if I could have done the same thing by being born 20 years earlier. In any case, it would not have been so easy … Also because there is something new, a black woman who wants to sing with a totally different style and assumed without waiting that we open all the doors and by addressing her audience directly by other channels.”
