Copines

"Copines," which translates to "Girlfriends," is a powerful anthem of female empowerment and solidarity. The song's central meaning revolves around a woman's confident and dismissive response to a man's disrespectful behavior. The narrative sees Aya Nakamura calling out a man who, while supposedly interested in her, is blatantly checking out her friends. Instead of creating conflict with her friends, she directs her scorn squarely at him.

The song rejects the idea of women competing for male attention. The rhetorical question in the chorus, "Mais qui est la plus bonne-bonne-bonne de mes copines?" ("But who is the hottest of my girlfriends?"), is not an invitation but a sarcastic taunt. It mocks the man's shallow gaze and reinforces that the women's collective value and solidarity are more important than his individual desire. She is essentially telling him that he cannot infiltrate their circle or turn them against each other.

Lyrically, the song is a masterclass in establishing boundaries and self-worth. Phrases like "J'suis pas ton plan B" ("I'm not your plan B") and "j'ai besoin d'un vrai djo" ("I need a real man") articulate her standards. The repeated line "Trop tard, j'suis trop loin pour toi" ("Too late, I'm too far for you") signifies a definitive and irreversible rejection. The song celebrates a modern form of femininity that is unapologetic, assertive, and uninterested in tolerating disrespect.

The song narrates a story of a woman directly confronting a man she is presumably with. It begins with him trying to arrange a rendezvous, asking where she is to meet her at a hotel. However, the narrator is immediately dismissive, stating she doesn't care and needs a 'real man' or a 'real djo.' The reason for her contempt becomes clear: he has been overtly checking out her group of friends ('copines'), and she believes he's completely smitten with them. She puts him in his place, making it clear she is not his backup plan or 'plan B,' and calls him out for staring at her friend's backside. When he calls, she sardonically asks if he thinks she's going to lash out at her friend over his behavior, reinforcing her disinterest and her need for someone genuine.

The recurring pre-chorus, 'Trop tard, trop tard, j'suis trop loin pour toi' ('Too late, too late, I'm too far for you'), serves as her definitive rejection, a statement that any chance he might have had is long gone. The chorus is a taunt, where she rhetorically asks him which of her friends is the 'hottest.' This isn't a genuine question but a way to mock his superficiality and wandering gaze. By repeating 'ah mes copines,' she emphasizes that they are a unit, a collective he cannot break into. She accuses him of wanting to 'bombarder'—a slang term for trying to hit on everyone indiscriminately—exposing his chaotic and disrespectful approach to romance.

In the second verse, she continues to belittle him. She describes him as someone who only 'planes' or comes alive at night, questioning if he seriously thinks she has time for him. She commands him not to call her 'mi amor,' a term of endearment that now rings hollow. She states that she has already cut him off ('j't'ai barré'), yet he persists. She mocks his belief that he's hitting the bullseye or being successful in his advances, telling him he'll need to find an alibi for his disingenuous behavior. The song culminates in a bridge that declares his downfall: 'Mon gars t'as coulé, Aya t'a cramé' ('My guy, you've sunk, Aya busted you'). It’s a final declaration of victory, where she has seen through his games and exposed him, all while he's still fixated on trying to pick the 'hottest' and 'freshest' girl from her crew.

"Copines" was released as a single on August 24, 2018, serving as the follow-up to her international breakthrough hit, "Djadja". It is a track from her second studio album, Nakamura, which was released on November 2, 2018.

The song was written by Aya Nakamura herself along with Julio Masidi. Julio Masidi is also credited as the producer and recording engineer for the track. The mixing was handled by Vincent Audou, and the mastering by Eric Chevet.

The vibrant and summery music video for "Copines" was filmed in Guadeloupe, a French island in the Caribbean. The choice of location complements the song's upbeat, confident, and carefree vibe. The video, featuring Nakamura and her friends enjoying a luxurious vacation, visually reinforces the themes of female friendship and empowerment present in the lyrics.

The rhyme and rhythm of "Copines" are key to its infectious and memorable quality.

Rhyme:

• The song employs a relatively simple and direct rhyme scheme, prioritizing flow and catchiness over complex poetic structures. Rhymes often occur at the end of lines, such as "flashé" and "fessier," or "nuit" and "avis."
• Internal rhymes and assonance are used to enhance the musicality of the verses. The repetition of vowel sounds makes the lyrics flow smoothly over the beat.
• The structure is more focused on the rhythmic repetition in the chorus ("bonne-bonne-bonne de mes copines," "bom-bom, bombarder") than on a strict AABB or ABAB rhyme scheme, which is typical for dance-pop tracks.

Rhythm:

• "Copines" is characterized by its strong, danceable Reggaeton rhythm, with a clear and steady beat that drives the song forward. The tempo is high, around 180 beats per minute (BPM), giving it an energetic feel.
• Nakamura's lyrical delivery is syncopated, meaning her vocal rhythm often plays against the main beat, adding a layer of rhythmic complexity and creating a groovy, laid-back feel despite the fast tempo.
• The interplay between the straightforward, driving musical rhythm and the more complex, syncopated vocal rhythm is a central element of the song's appeal, making it both easy to dance to and sonically interesting. The pre-chorus builds tension with its stop-and-start phrasing before releasing into the full, flowing rhythm of the chorus.

"Copines" showcases Aya Nakamura's signature style, which blends musical genres with a distinctive linguistic approach.

Musical Techniques:

• Genre Fusion: The track is built on a fusion of a Caribbean Reggaeton beat with Afropop sensibilities, R&B melodies, and a mainstream Pop structure. This cross-cultural blend is a hallmark of her music.
• Rhythmic Drive: The song has an infectious, high-tempo rhythm (listed at 180 BPM, likely in double time) with a prominent bassline, making it extremely danceable and suitable for clubs. The rhythmic structure is simple but effective, designed for maximum catchiness.
• Vocal Delivery: Nakamura's vocal style is confident and nonchalant. She delivers the confrontational lyrics with a cool, almost laid-back tone, which creates a powerful contrast. This projects an aura of being unbothered and in complete control of the situation.

Literary Techniques:

• Slang and Vernacular: The most notable literary technique is her extensive use of modern, multicultural slang, including verlan ("tel-hô"), West African-derived words ("djo"), and her own unique expressions. This creates a lyrical style that is authentic and relatable to her generation but can be challenging for traditional French speakers, making her a subject of cultural debate in France.
• Direct Address: The entire song is a direct address ("tu") to the man she is confronting, creating an intimate yet confrontational narrative.
• Repetition and Hook: The song's structure relies heavily on the repetition of catchy hooks like "Trop tard, trop tard" and the chorus, which makes it highly memorable and perfect for a pop hit.

"Copines" had a significant cultural impact, cementing Aya Nakamura's status as a leading figure in modern Francophone music. Following the massive success of "Djadja," "Copines" proved she was not a one-hit wonder and further solidified her global appeal.

Chart Performance and Popularity:

• The song was a major commercial success, peaking at number one on the French SNEP singles chart. It also performed well internationally, charting in Belgium (Wallonia) and Switzerland.
• It received a Diamond certification in France from SNEP, signifying massive sales and streams.
• The music video has garnered enormous attention, with over 555 million views on YouTube as of late 2024, making it one of her most-viewed videos.

Social Media and Viral Trends:

• In early 2021, "Copines" experienced a resurgence in popularity due to a viral dance trend on platforms like TikTok and Instagram Reels. This introduced the song to a new global audience and demonstrated its timeless, catchy appeal.

Linguistic and Cultural Debate:

• Like much of her work, "Copines" contributed to a larger conversation in France about language. Nakamura's blend of formal French with verlan and multicultural slang was celebrated by many for its authenticity and modernity but criticized by purists who saw it as a degradation of the French language. This debate highlights her role as a cultural disruptor who redefines what it means to be a French artist. The song is a prime example of her unapologetic style that has resonated with millions worldwide.

Aya Nakamura's lyrics in "Copines" are rich with contemporary French slang and metaphors that add layers to its meaning. The language itself is a symbol of her identity as a modern, multicultural French artist.

• "Djo": This term, meaning "guy" or "man," is derived from West African slang and is frequently used in her music. By saying she needs a "vrai djo," she's setting a standard for authenticity and genuine character, moving beyond superficiality.
• "Tel-hô": An example of verlan, a common form of French slang where syllables are inverted. "Tel-hô" is verlan for "hôtel" (hotel). Its use grounds the song in a specific, contemporary urban French culture.
• "T'as maté le fessier": A blunt and direct phrase meaning "you checked out the butt." It's not metaphorical but symbolic of the brazen, disrespectful gaze she is calling out.
• "Bombarder": In this context, "tu veux tout bombarder" means "you want to hit on everyone" or "sow chaos." It metaphorically paints the man as a reckless force, trying to make an impact everywhere without care or precision.
• "T'as coulé, Aya t'a cramé": This line translates to "You've sunk, Aya busted you." "Coulé" (sunk) is a metaphor for his social downfall or failure in his romantic pursuits. "Cramé" (burned/busted) metaphorically suggests he has been exposed and his game is over, as if caught red-handed.
• Rhetorical Question: The central chorus line "Mais qui est la plus bonne-bonne-bonne de mes copines?" is a powerful rhetorical device. It symbolizes her turning the objectifying male gaze back on itself, mocking its futility and asserting that she and her friends are not objects to be ranked or chosen from.

"Copines" is built around several powerful and memorable recurring phrases and motifs that reinforce its central themes.

• The Chorus Hook: The most significant recurring motif is the chorus: "Mais qui est la plus bonne-bonne-bonne de mes copines?" ("But who is the hottest, hottest, hottest of my girlfriends?"). This line, repeated throughout the song, acts as a sarcastic taunt. Its repetition drills down the central message: mocking the man's objectifying gaze and emphasizing that the women are a united, untouchable front.
• The Rejection Phrase: The pre-chorus line, "Trop tard, trop tard, j'suis trop loin pour toi" ("Too late, too late, I'm too far for you"), is another crucial recurring phrase. It functions as a definitive and repeated dismissal, leaving no room for ambiguity. Its recurrence emphasizes the finality of her decision.
• The "Bombarder" Motif: The phrase "Tu veux tout bombarder, bom-bom, bombarder" ("You want to hit on everyone") is a catchy, rhythmic hook that defines the man's behavior. The repetition of "bom-bom" sonically mimics the idea of indiscriminate action, making the accusation more vivid and memorable.
• The Need for a "Vrai Djo": The phrase "j'ai besoin d'un vrai djo" ("I need a real man") appears at the beginning of the song, establishing the core conflict and her standards from the outset. It frames the entire narrative as a search for authenticity over superficial charm.