Last night, Loud chose restraint over spectacle to introduce Douze sur douze, his fourth studio album. Just steps away from Montreal’s Mile End, inside a laundromat transformed for the occasion, the artist invited media, creators, and close collaborators to a listening party designed as both a moment of focus and a carefully considered cultural gesture.

Held in collaboration with Hennessy, a long-time partner for whom Loud has served as an ambassador for several years, the event immediately stood out for its coherence. A launch without excess, where every detail appeared intentional: letting the music lead, without neglecting image or context.

A familiar setting for a controlled return

The choice of venue was anything but accidental. Far from traditional concert halls or private clubs, the laundromat evoked something familiar, almost mundane, reimagined as a meeting point between culture, creation, and industry. A raw, stripped-back setting that deliberately contrasted with the glossy aesthetic often associated with album launches.

At the entrance, guests were welcomed by a photobooth featuring the artwork of Douze sur douze, while Hennessy cocktails and oysters circulated throughout the space. A DJ slowly set the tone, allowing conversations to unfold and the room to settle before the listening session began.

A gathering that reflected today’s creative ecosystem

The crowd in attendance reflected Loud’s unique position within Quebec’s cultural landscape. Among the guests were Frank The Dripper, L’beau-frère, High Klassified, Gaël Comtois, Philippe Fehmiu, and Jay Seven, alongside numerous beatmakers, photographers, and behind-the-scenes creatives. The presence of Le Gars des archives, widely known for documenting the visual history of Quebec’s hip-hop scene, underscored the sense that this was a moment meant to resonate beyond the evening itself.

More than a social event, the night brought together an ecosystem: artists, producers, content creators, media, and brand partners, all orbiting around a single creative project.

Loud, surrounded by his collaborators

Before pressing play on the first track, Loud took a moment to thank those who contributed to the album’s creation. Surrounded by his production team, label leadership, and collaborators from Joy Ride Records, he acknowledged the collective effort behind Douze sur douze. The moment was understated and sincere, mirroring the overall tone of the evening.

This brief introduction set the stage for the album itself, a project less concerned with spectacle than with balance, reflection, and control.

Douze sur douze: an album rooted in clarity

Comprising twelve tracks and running approximately 34 minutes, Douze sur douze presents itself as a bright, often contemplative album, where Loud favors emotional clarity over immediate impact. From the opening track 1/12, an acoustic introduction establishes a softer, introspective atmosphere that contrasts with expectations surrounding his return.

Tracks like Splash and A Win Is a Win reaffirm Loud’s mastery of ego-driven rap and sharp punchlines, a space he continues to command with ease. Yet it is on songs such as Par hasard, featuring Ariane Moffatt, that the album reaches one of its most compelling moments. The writing feels more nuanced and mature, supported by minimalist production that allows the lyrics to breathe.

Throughout the record, Loud moves between openly commercial ambitions, particularly on Signe and Quelque chose, and more traditional hip-hop sensibilities, notably on Une chose à la fois alongside Connaisseur Ticaso. This back-and-forth reflects a familiar duality: an artist who remains accessible while staying aware of his cultural lineage.

An experience aligned with the music

What truly distinguished this listening party was the alignment between the album and the experience surrounding it. The partnership with Hennessy felt integrated rather than imposed, functioning as a frame that enhanced the atmosphere without overshadowing the music itself.

The intimate format encouraged attentive listening, a rare approach in an era where album launches often double as loud promotional showcases. Here, the emphasis was reversed: less spectacle, more presence.

A return that raises meaningful questions

With Douze sur douze, Loud does not seek provocation or reinvention. Instead, he observes, adjusts, and refines. After years of intense visibility, this more measured return suggests an artist choosing control over urgency.

In an industry increasingly driven by release cycles and performance metrics, the evening served as a reminder that album launches can still exist as cultural moments, meaningful for artists, brands, and creators alike.

One thing is certain

This listening party was more than a promotional stop. It marked a return defined by balance, that of an artist who knows the rules of the game intimately, yet now chooses precisely when and how to play.

Douze sur douze is available today. And beyond critical reception, last night confirmed one thing: Loud continues to understand, with rare precision, how to connect music, image, and industry.