Pit Baccardi, co-founder of the Salon des Industries Musicales d’Afrique Francophone (SIMA) and a Cameroonian native, was in Cotonou for the second edition of the event, which was held on November 13 and 14, 2025. Ecofin Agency had a brief opportunity to chat with the French rap legend, who agreed to share his thoughts on various topics, such as the mission of SIMA and his current career transition to a producer.

Ecofin Agency: It’s only the first day of SIMA, yet the preparation on your end began weeks ago. What did putting all of this together involve?

Pit Baccardi: We’ve been working on this second edition ever since the first one ended in 2022. An event like this doesn’t come together overnight.  It takes strategic planning to decide the story we want to tell, the impact we want to make, the side events we want to include, the audience we want to reach, and even the location. It’s a lot of thinking and preparation. So yes, ever since the first edition, SIMA has been part of our daily work.

How did you secure the participation of the major players in the music industry for this second edition?

Many of them were already involved in SIMA in 2022. This year, we’ve added new institutions alongside the major labels and artists, but most of the people here have trusted us since the first edition in Abidjan. It shows they understand the issues at stake and believe in what we’re doing. You can’t move an industry forward on your own: you need everyone around the table. That’s why the major labels continue to support us.

We also have credibility with them because we come from this industry. Mamby Diomandé and I both worked at Universal. I come from the rap scene, and Mamby has a strong background in events and cultural projects in Côte d’Ivoire. That experience gives us legitimacy. In truth, we don’t have to work hard to convince them;  we share the same concerns and the same ambitions. We’re all trying to build a stronger, more profitable ecosystem.

Before the opening ceremony, you hosted a three-day artist residency at the Eya Community Center. How did it go?

Honestly, the artists were incredible. I only met them in person on Monday, November 10, when the residency started, and in just two days they wrote, composed, and recorded three songs. That’s remarkable. It really shows the level of talent we have in our countries and across the continent.

What impressed me even more is their drive. Normally, producing three tracks would take at least a week, especially when you’re working with people you’ve never met before, either personally or artistically. The way they connected and created together was outstanding.

Most people know your career in French rap, but fewer know how you moved into producing. How did that transition come about?

It was actually a very natural transition. I don’t feel like I’m doing something completely different from what I used to do. When I became a producer, I just applied everything I’d learned as an artist.

The key was accepting the shift,  taking a step back, and moving into the background so others could shine. Once you embrace that mindset, the rest follows. That’s really how the change happened for me.

Was there a specific moment when you decided to step away from the mic and move behind the scenes?

Yes, it was in 2010. I wanted to take my career in a different direction, even though I always told myself I’d come back to the stage one day. I didn’t know when or how, but I knew I’d return to the mic.

Would you say SIMA is your main project in this new phase of your career?

SIMA is the institutional part of what I do, but I’m still active on the music side. I celebrated my 25th career anniversary at the Olympia in Paris on September 25, and I have a new music project coming out at the end of 2025.

Can you tell us a little about that project? What made you want to pick up the mic again?

Simply the urge to sing, rap, and perform.  That’s my first passion… I got the itch again, so I gave in.  (Laughs)

You’ve been in Benin for several days now. What stands out to you about the local music industry?

I wouldn’t call it a full industry yet, but what really struck me is the energy of the scene. Like in Côte d’Ivoire, there’s a shared desire to put culture at the forefront. Through my conversations, I also realized there’s a real commitment from the state.  It’s a top-down push, and you can feel that people are ready to get involved, to invest, and to show up for culture.

You mentioned Côte d’Ivoire. In recent years, ‘Rap Ivoire’ has really emerged as a distinct Ivorian take on rap. Do you think it’s important for African countries to develop their own rap identities instead of trying to sound like others?

What’s happening with Rap Ivoire is amazing. It’s a great example, and it’s really the right direction for Africa. Côte d’Ivoire is in a strong position today. When people talk about rap now, they talk about Côte d’Ivoire. Before, it was France, the US, the UK… but now, Rap Ivoire has earned its place in the conversation. It has a real identity, rooted in its language, its lyrics, and its musical choices. I strongly encourage that. It’s exactly what we need to see more of.

Interview, in French, by Servan Ahougnon,

English adaptation: Mouka Mezonlin

Read More: 

14/11/2025- Pan-African Music Event SIMA Returns to Benin After Three-Year Break

06/11/2025- Financing and Showcasing Francophone African Music: From Potential to Performance (Op-Ed)