Some artists chase trends. POSITIVEMAN builds worlds. With the arrival of “TOMA,” he doesn’t just drop a new single — he kicks open the door to Phase 2, a chapter that trades the foundational optimism of “BOMBA” and “WINNER” for something far more sweeping: a full-blown cinematic universe built on hope, connection, and the radical idea that kindness is strength.
The first thing that hits you is scale. “TOMA” was shot across Tangier, Barcelona, and Cairo, with a jaw-dropping sequence at the Great Pyramid of Giza that the artist calls a symbol of positive energy circling the globe. It’s a bold visual swing, and it pays off — the pyramid moment alone elevates the video from “music video” to “short film.”
Sonically, “TOMA” is where POSITIVEMAN’s real skill shows. Arabic melodic lines, Gnawa rhythms, House pulses, and Brazilian Funk grooves all share the same track — a combination that could easily collapse into noise in lesser hands. Instead, each influence functions like a color on a palette, mixed with intention rather than thrown together for novelty. The result feels less like genre-blending and more like genre-translating, with every sound pointing toward the same destination: joy in motion.
The inclusion of traditional Daqqa Marrakchia rhythms is a particularly sharp choice — it roots the track in cultural specificity even as the song reaches for something universal. That tension, between the local and the global, between “every place has its own magic” and one shared human language, is the emotional engine of the whole project.
Even the production war stories — the logistics of pulling off a “magic carpet” sequence, the symbolism embedded in his character’s choices — point to a bigger ambition than a single song. This is scene-setting for an era.
If Phase 1 was POSITIVEMAN introducing his mission, Phase 2 is him proving it can scale. “TOMA” turns borders into bridges, one smile-sized act of hope at a time.