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History: Respond from luke the composer: J'ai vu que tu m'avais écrit aussi ailleurs en anglais, donc voici également une version anglaise : On the cover of 'Bougez,' from left to right, you have: Nadia Hamzaoui, Emmanuel Deleplanque, Sammy Hammami, and David Bustin. It all started thanks to Sammy Hammami's mother, who worked in Brussels at a place I frequented daily. We became friends. She knew I was into music and asked me to evaluate what her son and his friends were doing and see if I could help them. Impressed by their demos, I asked to meet them. Their energy and talent convinced me to sign them to re-record and professionally rework their tracks. They were influenced by the raggamuffin trend of the time and had an impressive flow, almost unheard of in French at the time. We started with the track that best reflected the group's range. I also had the idea to make an uptempo remix, more European for the clubs, in the spirit of Real to Reel's 'I Like to Move It.' This made sense on multiple levels, in terms of lyrics and style. We organized a photo shoot and set up meetings with the biggest labels in Paris. Some labels hesitated to commit, but Olivier Chatelain from Sony Music / Dancepool fell in love with them and signed the group immediately. This small, unknown Belgian group suddenly went from demoing with friends to major label artists in just a few months. They worked hard to prepare for this transition, especially mastering the uptempo version for live performances. To get them road-ready, Sony Music placed them on a tour with a lineup of artists across France and Switzerland, alternating between large venues and clubs. From the first date, the group's phenomenal impact on stage and the audience's response made them the highlight of the show. The feedback from the field to Sony Music opened unprecedented doors for an unknown group, typically reserved for established artists. They were booked on Jacques Martin's essential TV show, numerous youth programs, and at the Midem in Cannes. Having attended several editions of the top youth magazine 'Ok Magazine' event, I knew Bla Bla Posse had every chance to win over this audience. Their raw urban style wasn't toned down for this audience. But I trusted their personalities and adaptability. By insisting with Sony to convince the magazine to give them a chance, they ended up being scheduled. Placed at the end of the show, their performance caused a sensation. The electrified crowd screamed, and at the end of their set, the audience rushed the stage, interrupting the show and overwhelming security. The editor, stunned by this unprecedented situation, then set up a series of reports and articles on the group, opening up a whole new audience and a fan club. Between increasingly numerous performances, the group was recording their first album with Urban Pop Electro sounds. Their second single, 'DJ Let's Groove,' was released to keep fans engaged as the album was taking longer than expected due to their busy schedule. However, the album would never see the light of day due to a conflict with the studio we had an agreement with to develop the group. With trust broken, the group and I decided to end the co-production with this studio and sue them. Despite the label's excitement about the group's future singles, the climate of uncertainty no longer allowed Sony Music to release new tracks, let alone the album. After two years of legal proceedings, the group eventually dissolved, much to the regret of their fans, ending the promising journey of this group with a meteoric rise.