Album Review: Patoranking’s Three Album
In the year that marked his 30th year of existence, Patoranking has released his third studio album conveniently entitled Three.
This latest body of work has been crafted to embody several meanings, emanating the energy of joy and growth, reflecting on his personal journey through his life and career.
Following on from God Over Everything and Wilmer, Patoranking’s latest project is a sign of maturity in his art and the understanding that during life’s ongoing trials and tribulations, it is important to recognise who will be there when times are most difficult.
Abule, in particular, is a jovial tribute to Patoranking’s humble beginnings, celebrating ‘ghetto parties’ that occur within Ebute Metta.
Abule is within the mid-ranges in regard to tempo, and thus a tune that allows the listener to gently catch a vibe. Patoranking hails from Ebute Metta, a town in Lagos where he once sold rat poison and worked as a bricklayer to make ends meet. Abule supports the notion of never forgetting your origins, encouraging his supporters to do the same.
It is often that those who transcend difficult circumstances in terms of class turn their back on those they leave behind, but not Patoranking.
In an interview for Ubunifu Radio on No Signal radio, Patoranking says “I always wanted to be the voice of the voiceless and give hope to ghetto youth’s and be a symbol of hope to them…” and this is demonstrated in his 2019 African Leadership University (ALU) scholarship program to train 10 innovate young children from Ebuta Metta who cannot afford an education.
Abule encompasses Patoranking’s humanitarian political leaning through the realms of music, and how his entrance into his 30s has brought about a person of greater maturity.
Three explores differing sounds, though dancehall dominates.
Patoranking’s stage name was given to him by a Jamaican artist, has cited the likes of Buju Banton and Bob Marley as inspirations. Jamaica’s influence on the African continent in regards to sound is second to none, with major artists like Wizkid championing dancehall from within the continent.
Whine It (ft Sauti Sol), Yo Body, Lion in the Jungle and Brrr from Three are all primarily dancehall songs, continuing this theme.
Brrr is high octane and one that must be reserved for the sound system from the back of a truck for maximum effect. They are all very digestible to dancehall fans, bringing about carnival atmosphere during a time when events of such kind have been postponed due to Covid-19.
Matter ft Tiwa Savage has dancehall influenced elements, with a stronger fusion of Afrobeats and amongst the stronger songs on the project. Given the strong support of Dancehall music within Africa, it is expected that Patoranking’s third studio album will be well received.
Longevity of Three amongst Patoranking’s fans is guaranteed, but whether this translates to your average music consumer is one where only time can reveal all.
Patoranking has often spoken of “putting the continent on the world map”, as mentioned in an interview for Ubunifu Radio. Nobody, the fourth track on the record, is one that for many would have been unexpected. Sonically, it is very much unlike the other tracks on the tape, and this is welcomed.
More so, this appears to be Patoranking’s contribution that demonstrates the vast array of sounds that exist within the African continent. That is commendable. Nobody is of Amapiano, a burgeoning genre from South Africa that is currently dominating their music scene.
Nobody creates a subtle change in the vibe of the album momentarily, particularly with the Virgo Deep-like drum synthesised patterns that elicits erratic head nodding. For many, this may be their first introduction to Amapiano as a genre and it is hoped that Nobody can direct fans toward the likes of DJ Maphorisa and Kabza De Small who are currently leading the charge of yet another pioneering sound from the African continent.
Nobody itself is a bouncy tune, with impressive production by Jonathan Takyi Mensah and also demonstrates Patoranking’s true versatility as an artist. Of course, Nobody lacks the authenticity of Gauteng’s very own, however for a genre to transcend boarders it is important for artists hailing from parts of the world differs from its origins to champion it.
Patoranking’s moral vocation includes propelling sounds from within Africa to other countries within Africa and beyond. Nobody does just that.
Black Girl Magic lays bare Patoranking’s awareness of existing social issues that continue to plague the black population globally. Racism is one force, but another is ever-present and attacks from within colourism.
‘Black Girl Magic’ refers to a cause brought about by CaShawn Thompson in 2013, endorsed by the likes of Michelle Obama, Solange Knowles and the title of the song by Zambian artist Sampa the Great. It is refreshing hearing such from a male’s perspective.
Patoranking acknowledges the importance of black men celebrating black women, particularly dark skin black women who disproportionately bare the brunt of societal ills. We as black men must do more, far more to celebrate black women as far too often have black men contributed to the malignant skin bleaching culture.
Black Girl Magic revolves around ‘Black is Beautiful’ that Patoranking harmonises throughout the production. According to the UN, 77% of women in Nigeria bleach their skin, a statistic that exposes wider social issues that exist.
“Music is a platform/medium where I can stand and speak for people”, Patoranking says whilst speaking to Sade and Bryan of Ubunifu Radio on No Signal Radio. Skin bleaching is a significant issue within the African continent, and Black Girl Magic nicely fights against with a sound bearing loose similarities with Bruno Mars’ 24K Magic-like sound that derives from Funk. In fact, the pop and funk approach ensures the likelihood that Black Girl Magic is receptive to multiple generations.
Black Girl Magic strikes a good balance between a strong political message and the ability to elicit emotions of happiness.
Three is well-built as a project and a continuation on from Wilmer. The themes are strong throughout and continues Patoranking’s steady incline as an artist. Questions remain regarding its replay value and overall impact, however, it is clear that for Patoranking, music is vocational as much as it is a form of expression.
The Three Album released 28th August 2020
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