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Loud | Pay it forward

The photographer begins his session by indicating to his subject, without irony, that he should not feel obliged to smile. Which has the effect, against all odds, of making Loud smile – a small smile, of course, but a smile all the same. Frank meeting with a rapper much less taciturn than what the rumor peddles, on the occasion of the release ofNo promisethird album on which he is already reflecting on his legacy, intimate and artistic.

Posted at 7:00 a.m.

Dominic Late

Dominic Late
The Press

10 years ago, on gullywood, album of the revelation for LLA, Loud dreamed of one day having “James Hyndman money”, to understand: a lot of money. The fantasy is no longer one: a decade later, the MC has, for real, this kind of means, happy benefit of an unprecedented success in the history of Quebec hip-hop.

But rather than simply boasting about it, the thirty-something wonders about the first track of his third album, No promisehow to become a good provider for those close to you: “My father was a provider, my mother was a provider/They dressed me summer and winter until I was 22/Y proved to me that we could do anything as long as we work hard/If one day I’m a father myself, I couldn’t do better”.

“It was my family who taught me that you can’t take care of yourself alone,” says the son, now 34, in an interview.

Then, it’s the voice of Sans Pressure, among the fathers of modern Quebec rap, that we hear after the first verse: “I think I’ve aged a lot, know I’m sayin. Maturity, know I’m sayin he says in an excerpt from an interview given in 2003 for the release of SP’s second album, Replies to the offended.


No promise is the album on which Simon Cliche Trudeau trades boastfulness the most for astonishing vulnerability.

Should we conclude thatNo promise is, for Loudmouth, the proverbial album of maturity? Certain thing: No promise is the album on which Simon Cliche Trudeau trades boastfulness the most in favor of an astonishing vulnerability, measuring the all-out he played when he embarked headlong into the rap game. The place where he had made an appointment with the media on Thursday – the roof of the Hôtel Monville – could not be more symbolic: the man started at the bottom, here he is now at the top of Montreal.

gullywood saved me, I was in distress”, he even drops in hold-up. In distress, really? “I was at a crossroads, yes. I hadn’t built anything else,” recalls the pride of Ahuntsic-Cartierville who, to satisfy his parents, without conviction, took a CEGEP session in business management and another in graphic design (or something like that).

I went to school just so as not to disappoint them. In my head, I already knew where I was going, but there was no guarantee that it was going to work. There is worse in life, but there is an anguish that comes with the gamble of choosing the life of an artist.


not a diva

Another leitmotif ofNo promise : Loud’s indifference to the interest shown him by commercial radio and television since the heady first notes of All women know how to dancehis absolute hit, literally engulfed the airwaves, to the point where its author, without considering this song as a faux pas, is “just not able to hear it anymore”.


Loud, rapper and CH supporter

“My discomfort is not with success, but with what it means to have popular success in the Quebec industry”, he continues, regretting the lack of seriousness with which artists belonging to niches are still considered.

If he didn’t seem particularly moved when he received Félix awards, it’s quite simply that these awards don’t move him. “It doesn’t move me, no, but I’m not going to play the hypocrite and say that I’m against galas. We registered, yes, but there is also a political side to all that, just as there is a political side to doing interviews. I have to coexist with others. I don’t want to look like a diva. So you won’t see Loud at Sweety salty in the summer.

I will not go to Sweety salty so that Guy Jodoin turns his cap to the side and that we pretend that things have progressed for Quebec rap, when basically, when we participate in all that, we make Quebec rap regress, because we ridicule. It’s the jokey side that always comes out in some media and it doesn’t really represent the vibe of rap in Montreal.


Don’t scroll

Although he bends to the interview game more out of obligation than pleasure, Loud is by no means the laconic, impassive character that his reputation has crystallized. It even seems a bit sad that Ginette Reno, in a recent interview with The Press, regretted that his younger brother remained almost silent during the filming of their Uber Eats commercials. If he was so silent, it was because he preferred to listen to the anecdotes that the venerable singer had to tell.

The rapper does not scroll when discussing the participation in No promise of White-B, the time of a pours registered, in extremis, a week before he entered prison in February, a sentence to which was added in April another conviction for pointing a firearm at a construction worker. This choice, Loud made it without being unaware that his compatriot of record label would pass on the other side of the bars. Simple explanation: “5SANG14 and White-B solo, that’s the most interesting thing on the scene here. »

He is responsible for what happens to him and I find it unfortunate for his career, because it slows him down. But it would be hypocritical for me to dissociate myself from him when he faces this when I have wanted to work with him for a long time.


Paying off his debt

Some will no doubt accuse him of clearing himself cheaply, but no one can blame Loud for not taking up his cause to denounce a scourge afflicting the community that gave birth to hip-hop culture, that of systemic racism.

He tells in Win Win having been arrested one day in his secondary school, an episode about which he prefers not to go into detail, less out of modesty than to emphasize the double standard: “I was not white as snow, but I was white as a privilege,” he raps.

For someone else, this situation could have left a trace in his file. A trivial thing in my life could have changed that of another, send him to a youth center.


This kind of speaking remains delicate – White Privilege II from Macklemore, anyone? –, but it was important to Loud to pay off his debt to the builders of Quebec rap, including Imposs de Muzion, alongside him on winwin, with young Raccoon. In the summer of 2020, after the death of George Floyd, he donated $56,000 to various organizations oxygenating the life of black communities in Montreal. A gesture for which he was both applauded and accused of opportunism.

“In these cases, it’s damned if you do, damned if you don’t, but the best thing, if something is close to your heart, is to get involved. In this context, I had the impression that it concerned me personally and I wanted to send a clear message. I’m starting to think about my legacy more and more and I don’t want to be the one who took it all but left nothing,” adds Loud.

No promise

hip hop

No promise


Joy Ride Records

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