No surprise here, Jean-Jacques Goldman takes the top spot for the 8th time, with 37% of the votes. While he's absent from the media scene, he's still ever-present in collective memories. The creator of Encore un matin and Quand la musique est bonne continues to unite all generations. He leads over Francis Cabrel, the eternal poet of French song, and Florent Pagny, whose powerful voice and lasting career continue to impress.
Behind this ultra-stable podium, the Top 10 confirms the French people's attachment to established artists: Indochine, Céline Dion, Stromae, Mylène Farmer, Soprano, David Guetta, and Julien Doré. It’s a true snapshot of a public that loves reassuring and cross-generational figures, where new talent is emerging… but not turning everything upside down.
Among the youth, rap and electro reign supreme
Shifting gears…
Here’s your translation: "Among the 18-24 year olds, the rankings are 100% male and heavily influenced by rap, R'n'B, and electro. Gims clearly leads, followed by Stromae, Damso, David Guetta, and DJ Snake."See this post on Instagram
The references are more recent, more international, and less rooted in the tradition of French song. This generational gap illustrates the evolution of musical practices, from streaming to social media, but also a gradual renewal of idols.
Some artists are indeed confirming their rise in the overall ranking, like Vianney, Angèle, Louane, as well as the revelations Zaho de Sagazan and Santa, making significant progress this year.
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Women: always too few, but transcending generations
However, the reality remains harsh: only two women appear in the Top 30, Céline Dion and Mylène Farmer. And taking a step back, the imbalance is even more evident: female artists only make up about one-third of the Top 100, highlighting a structural inequality that is still deeply rooted in public preferences.
Some journeys, however, showcase an exceptional longevity. Véronique Sanson is the only female artist from the 70s to be in the Top 10 of the most preferred female artists among the French, a testament to her timeless presence and a rare transgenerational bond with the audience, more than fifty years after her debut.
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The impact of women can also be measured through songs. The ranking of the favorite female and feminist tracks of the French, revealed during the concert Nos Voix pour Toutes, places Un jour, une femme by Florent Pagny at the top, followed by Résiste by France Gall and La femme est l’avenir de l’homme by Jean Ferrat.
Among the younger crowd, the references are refreshing: Tous les mêmes by Stromae, Balance ton quoi by Angèle, and Mesdames by Grand Corps Malade are emerging as contemporary anthems, sometimes feminist without being explicitly so.