IN CONVERSATION WITH ABRAHAAM

interview by JANA LETONJA

With a singular blend of cinematic gravitas, humble authenticity, and avant-garde electronic ambition, French artist Abrahaam is carving a path that feels as visceral as it is visionary. After gaining attention with the anthemic track Iconoclast and his remix for Lady Gaga, he returns with Iconoclast Part.II — a haunting, brass-driven evolution featuring french singer Tallisker. The track is taken from LORE [SZN 2], a conceptual EP where myth, identity and rebellion collide in sonic form. In this conversation, Abrahaam reflects on creative freedom, emotional power, and how reclaiming one's voice can be a radical act of storytelling.

Let’s start with your upcoming EP — LORE [SZN 2]. The title itself hints at mythology, world-building, and personal narrative. What does “LORE” mean to you in this new chapter, and how does it connect to your previous work?

« Lore »  refers to the historical and cultural background of a fictional universe — not the main storyline, but everything that gives it depth. It’s a concept that really speaks to me, especially since it’s used so often in film, series, and video games — all worlds that deeply inspire my work.

With my first EP GENESIS, I wanted to lay the foundation of a sound, a color, a world — to define who Abrahaam is. With the next two EPs, LORE [SZN 1] and [SZN 2], I set out to explore the edges of that universe. These projects are richer in influences and collaborations, but every shade, every texture still reflects who I am. These tracks tell my story through sound — and in doing so, they also shape what’s next for Abrahaam.

Your new single, “Iconoclast Pt. II” featuring Tallisker, builds on a track that already had major visibility thanks to the DS3 Crossback campaign. What made you want to revisit and expand that original concept?

Iconoclast is a deeply meaningful track for me. It marked my very first release as Abrahaam. What makes it even more special is how it unexpectedly resonated on such a global scale, especially through its sync in the DS3 Crossback international campaign. At the time, we had no idea it would travel so far or receive such powerful feedback.

So much unfolded from that moment : it opened doors, shaped new opportunities, and confirmed that there was a place for my sound in the wider creative world. I knew I had to return to that energy, not to recreate it, but to take it further.

That’s where Iconoclast Part II was born with the help of two incredible collaborators: Tallisker and Jen Jis ! It’s not just a sequel — it’s a reimagining. A way to honor the spirit of the original while stepping into a more expansive, powerful chapter of the story.

The collaboration with Tallisker and Jen Jis gives this version a cinematic yet high-energy club feel. How did that creative synergy come together, and what did each of you bring to the process?

When I first started looking for collaborators on this track, I never imagined the chemistry would be this strong. I had already composed the sequel to Iconoclast, I wanted it to feel more electronic and clearly shaped for the club scene. Jen Jis immediately came to mind. His work with Offenbach is incredible. He instantly understood the vibe. He elevated the production, giving it that perfect balance of emotional depth and dancefloor impact.

It was actually my A&R, Tom Le Bourhis at Universal, who suggested the idea of blending male and female vocals. I instantly thought of Tallisker. I’ve known her for years and have always admired her artistry. Her magnetic delivery and sharp lyrics brought a whole new dimension to the track !

The word iconoclast literally means someone who breaks established norms. Do you see yourself as an iconoclast in today’s music landscape?

Iconoclast means a lot to me. I don’t see the iconoclast as someone who's simply rebelling against norms or rules. To me, it’s about breaking free from your own chains. We often submit to ideas, expectations, even people, that only have power because we’ve decided to give it to them.

For my part, I’m just trying to walk the path that feels the most true — the one that reflects who I am, who I want to be and what I can offer to others. These days, it’s wild how much we expect from artists — visuals, performance, constant output — and yet, we rarely ask them to give us something meaningful. Something that speaks to the deepest part of who we are. There was a time when that was the very purpose of art. That’s what I’m humbly trying to do. I’m not here to entertain, I’m here to make people feel they ARE sacred. All of them.

⁠The music video for Iconoclast Pt. II is described as bold and graphic — a visual anthem for freedom. Can you tell us more about the vision behind the visuals and what message you hoped to send?

The video for Iconoclast Pt.II plays like a kind of utopian sci-fi short — set at a turning point between two worlds: one old and crumbling under the weight of its own emptiness, and another that hasn’t yet been born.

That’s why there’s no background ! Everything takes place in a kind of timeless, placeless void, filled with surreal visual effects. It’s a bit like that iconic Matrix scene where Morpheus brings Neo into the all-white space with no beginning or end, where anything can appear or vanish.

Because this new world… it’s up to us to imagine it — and build it together. We don’t know exactly what it’ll look like. And honestly, it doesn’t really matter as long as we create it collectively. All of us, together.

⁠From sacred symbolism to hypermodern beats, your work often merges spirituality with futurism. What inspires this duality in your sound and aesthetic?

I don’t see it as a duality. To me, spirituality means Life — in its most expansive, beautiful, profound, and liberated form. Even though spiritual figures like Abraham, Elijah, Jesus, Buddha, Muhammad… just to name the most well-known — have been trying to awaken it for thousands of years, I believe true spirituality is something we haven’t yet explored collectively as a society. For me, it feels less like a relic of the past and more like a vision of the future.

Those ideals they stood for, we haven’t really lived them yet. I don’t even think we’ve fully understood them because if we had, we wouldn’t have turned them into religions or belief systems that divide us, when every one of them was simply calling us back to love.

In my view, all of that isn’t just history. It’s groundwork for what’s to come if we build it together. It’s a matter of life or death.

Let’s go back for a second — you once produced music for Lady Gaga, which became a viral moment. How did that collaboration come about, and what impact did it have on your career and creative confidence?

This project was wild and completely unexpected. I was on vacation, sitting by the beach, when I got a message: “Would you be up for remixing LG?” I didn’t get it at first — how could I have imagined it was Lady Gaga?

Nick Knight, the iconic director (Björk, Kanye West, Kate Moss…) was creating a film for Gaga’s collaboration with Dom Pérignon. He wanted a darker, more cinematic version of Free Woman, and the production team had heard my track Iconoclast. It had exactly the sound they were after.

I was in competition with other artists and even after my version was approved — all the way up to Bernard Arnault — we still had to refine and reshape the remix to align everyone creatively. But honestly, it was thrilling every step of the way. 

When the campaign launched, it went global — L.A., Tokyo, London… — and suddenly, messages were pouring in from everywhere! And what really touched me was the reaction from the Little Monsters. Gaga’s community is not only passionate, but incredibly kind and supportive ! Many of them still follow me to this day, showing up for every release. Their support means the world to me.

That project opened so many doors. It gave my career a massive push, and proved that my sound had a place in the global music landscape.

What was the most surprising or surreal part of working with an artist like Gaga, especially as someone known for pushing sonic boundaries?

I think the most surreal and surprising part was realizing they actually wanted my sound. Honestly, at first, I didn’t believe it would go all the way.

Lady Gaga is one of those rare artists who’ve broken free from every box people tried to put them in. She keeps reinventing herself, pushing boundaries, and surprising us. When I started working on the remix, I really wanted to honor that — not just who she is, but what she stands for.

That’s why I reimagined the “Free Woman” chorus with layered choirs, to give it a more solemn, universal feel, almost like an anthem. I pictured thousands of voices singing it together, like a collective manifesto !

All of it made from my little home studio in the suburbs of Paris. Pretty surreal to be producing for two global giants like Lady Gaga and LVMH from there !

⁠LORE [SZN 2] feels like more than just an EP — it feels like a statement. If listeners walk away with one feeling or realization after hearing it, what would you want that to be?

Of course, I poured real intention into this EP : it’s a reflection of who I was in that moment and everything I was feeling. LORE [SZN2] is my most personal project yet. But I’m not here to tell people what to think, feel, or take away from it. I want them to be free to feel whatever comes up.

To me, this project is more of a trigger that awakens something deep inside. Something that belongs to them, and that no one else can control.

We’re constantly told what to say, what to do, what to think, what to believe. With my music, I want people to feel just a little more free. I want them to own who they are. To see themselves clearly, feel the power already within, and remember they hold the keys to their own future — and to the world’s.

⁠Finally, you’ve carved out a very distinct artistic identity — cinematic, genre-bending, emotionally charged. What’s next for Abrahaam after this release, and what new territories are you excited to explore?

Thank you !

There’s so much more I’m planning for the future. LORE [SZN 2] marks the end of an era — a chapter is closing for Abrahaam, and what’s coming next will feel a little different. I can’t reveal too much yet, but while my identity will always be there, this is the beginning of a new evolution.

At the same time, I’m moving more and more into fiction and cinema. I’m hoping some exciting projects will emerge from that.

And of course, I’m still exploring through new collaborations. Working with other creatives is what drives me and keeps me growing.

CREDITS

photography EY