At Paris La Défense Arena, Gims delivers a concert event with five sold-out dates from December 19 to 22, 2025, gathering around 200,000 spectators. This residency, a highlight of his 2025 tour (Last Winter Tour), relies on arena staging and constant interaction with a very mixed audience. The show is broadcast on December 23 at 9:10 PM on France 2.
Key Takeaways
Between December 19 and 22, 2025, Gims performed five sold-out concerts in Nanterre, at Paris La Défense Arena. The format is unusual: four days, but five performances, with an additional session scheduled on Saturday afternoon.
This series of dates concludes a highly visible segment of his tour. It confirms the artist’s strong presence in major French venues. Moreover, the venue reports 200,000 tickets sold for the entire residency. This figure alone indicates the scale of the event.
The final extension of this sequence: a recording is offered on television. It will be broadcast this Tuesday, December 23, 2025, at 9:10 PM on France 2. Additionally, availability is announced simultaneously on france.tv.
A Parisian Residency in Five Acts
On paper, the sequence is simple: Friday 19, Saturday 20 (two sessions, 2:00 PM and 8:00 PM), Sunday 21, Monday, December 22. In reality, this density changes the nature of a concert: same show codes. However, a mechanism must hold over several evenings in front of an audience. Moreover, this audience does not all have the same references.
The choice of Paris La Défense Arena is not insignificant. In show configuration, the venue has established itself as one of the largest covered arenas in Europe. It has hosted sports events and international shows in recent years. Furthermore, it can absorb massive flows. Consequently, it becomes an element of the narrative as much as the music.
In this type of configuration, the performance is not reduced to a list of songs. It relies on rhythm, pauses, and changes of scenes. And, above all, on the ability to maintain the connection when the scale makes proximity more difficult.
What Television Seeks
The broadcast on France 2 is part of a tradition of year-end programs. Indeed, the concert captured in a large venue becomes a television object in its own right. Moreover, the press kit of France Télévisions highlights an evening designed to gather beyond the audience. Indeed, this approach aims to include a broader audience than those present in the venue. Thus, an identified production and direction are put in place.
For television, the interest is twofold. First, access: allowing those who did not attend the dates to see the show. Then, the staging: shots that highlight the arena’s architecture, the screen play, the movements, the crowd moments. On the screen, what is experienced in the moment becomes a narrative.
This shift is not neutral. In the venue, energy circulates through volume and the collective. On television, it passes through editing and framing. It’s another way to measure an artist’s place in popular culture: not only through ticket sales but through the ability to exist in prime time.
A Show Calibrated for the Arena
The "arena" format imposes choices. Feedback from several observers describes a setup where screens play a central role, and where the artist occupies the space through movements, spectacular entrances, sequences designed to engage the audience. The important thing here is the alternation: speeding up on well-known choruses, slowing down on a few more intimate moments, then restarting.
Gims relies on a repertoire built for this: songs with clear melodies, immediately recognizable rhythms, tracks whose lyrics are already on the audience’s lips. In a venue of this size, "federating" titles are not a cliché: they become a condition of readability.
Over the course of five nights, the setup also relies on execution discipline. Same staging, same highlights, but an audience that changes. What repeats is not necessarily what wears out: it can become a ritual if the rhythm is sufficiently mastered.
A Renewing Audience, a Shared Listening
Some comments on this series of concerts emphasize a phenomenon already visible for a few years: an intergenerational audience, with a marked presence of young spectators, sometimes coming with family. The afternoon session contributes to this reading: it outlines a slot that is not that of usual evening concerts.
This shift reveals an artist who has moved from group rap to a broader urban pop. However, he has not completely lost his roots. The older ones find markers of Sexion d’Assaut, while the younger ones enter through titles that have gone viral, through platforms, through choruses that circulate quickly.
This mix is visible in the venue: different codes, but the same attention to songs that have crossed genre boundaries. People don’t come to listen to an album: they come to traverse a discography, like a summary of two decades of hits.
Situating Gims in the French Scene
Born in Kinshasa and raised in France, Gims first made his mark as a member of Sexion d’Assaut, before embarking on a solo career in the early 2010s. His career then shifted to a rare space: that of an artist capable of navigating between rap, pop, variety, international collaborations, and mainstream choruses.
The name change from Maître Gims to Gims accompanied this evolution. It marks a desire for simplification, but also a way to stand on a line: remaining identifiable in the rap landscape while occupying mainstream radio.
In this context, filling an arena five times is not just an indicator of popularity. It’s a symptom of transformation: that of music born on the margins and becoming central, to the point of constituting a national televised event.
The boundary between stage and intimacy remains a feature of the era. Demdem, often associated with the artist’s public image, reminds us of these limits: here, we stick to what is already public and verifiable.
Practical Information
For spectators who attended the concerts, the organization was structured by day and session. The venue published door opening times and circulation recommendations. It emphasizes the need to anticipate access. Additionally, one must present a readable ticket, either paper or a charged smartphone.
On the transport side, Paris La Défense Arena recommends prioritizing public transport. Access includes the line 1 metro at La Défense and the RER A at La Défense Grande Arche. Additionally, the RER A serves Nanterre-Préfecture and the RER E takes you to Nanterre-La-Folie. Finally, the tram T2 is accessible at La Défense. Safety instructions and a list of prohibited items remind us of the constraints of a very large-scale event.
For television viewers, the appointment is set for Tuesday, December 23, 2025, at 9:10 PM on France 2. Additionally, a simultaneous broadcast is announced on france.tv.
Large Venue, Large Flows: The Challenge of Usage
A concert of this size is also a logistical question. The recommendation to come by public transport is not just for comfort: it responds to flows concentrated over a few hours and mechanically limits car pressure around the site.
In its communications, the arena claims a responsibility and sustainability approach for certain events. Notably, it displays commitments with partners. Without turning a concert into a "carbon footprint," these elements are part of the landscape: the way of traveling, sorting, and consuming on-site now weighs in the experience of an evening.
What These Five Dates Tell About His Place in 2025
With this residency of five sold-out concerts at Paris La Défense Arena, Gims marks a scale shift: that of an artist who holds the large venue over time and transforms a series of dates into a national event, extended by a prime-time broadcast.
Television captures an image: that of an arena show, built for crowds, but also for a broader audience at home. A simple fact remains: in December 2025, the artist showed that he could still gather, on stage and on screen.
After four sold-out days at Paris La Défense Arena, Gims extends the event on France 2 this Tuesday, December 23, 2025, at 9:10 PM. Five dates, nearly 200,000 spectators, a scenography designed for the arena: the ‘Last Winter Tour’ residency illustrates the place taken by the artist in French urban pop. Story, context, and practical references.