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His unique blend of Dancehall & African elements and his hitmaking status have propelled him to the top in a career that spans nearly a decade.
For his fourth album 'World Best', Patoranking retains the elements that have soundtracked his success to deliver a sonically predictable and boringly familiar project.
Patoranking's blend of Dancehall and Highlife helped him to distinguish himself in the Nigerian Pop scene. However, deploying a similar style without any notable sonic evolution means that listeners have become overly familiar with the sound whose exciting properties continue to wane. It's this predictability and lack of artistic evolution that informs Patoranking's fourth album 'World Best' on which he undertakes to join Afrobeats' global push.
Konto music (A blend of Dancehall and Highlife) is one of Afrobeats' earliest and most enduring mainstream sounds popularized by the likes of Daddy Showkey, Marvelous Benji, and Stereoman, among others. Patoranking took the baton and elevated the sound through his impressive vocal abilities, skilled writing, and topically relevant music that has delivered hits like 'Abule'. Patoranking also embodies the swaggering elements of a Dancehall artist who's skilled at creating body-rocking and speaker-rattling music that can compete with the works of the best creators in Kingston.
Afrobeats has witnessed three notable sonic evolutions between 2016 and 2022. The Street arm of the industry moved from Shakuku to Zanku and the mainstream Pop section moved from Ghana Bounce to R&B and Pop Rap mid-tempo music before the domination of Amapiano in 2021. Amidst this evolution, Patoranking's style has remained largely unchanged. Although during that period, he scored hits with 'Abule' and 'Celebrate', his powers waned as the listeners moved on to the artists whose music dominates the soundscape.
This reluctance to evolve has not only impacted his social currency but also the sonic appeal of his music. Even as he appears to want his share of Afrobeats' fast-growing international success, his music seems to be stuck in the preceding era.
On 'World Best' Patoranking fails to switch up his style while failing to recreate the brilliance he delivered on the groovy Highlife hit 'Abule' or the body-rocking party starters like 'My Woman' and 'Suh Different'.
Patoranking's grass-to-grace story is one he has constantly shared and which can be credited for his willingness to share his success story which he credits to God. The conversation stays very much the same on his fourth album where he also explores familiar Pop themes of love and a good time while also delivering social commentaries which he strings together with familiar cadences.
Across the album, he changes little in his flow scheme, technique, or in the way his melodies. Even on tracks where the production is more adventurous like 'Inshalla' on which he credits God for his success and makes positive proclamations, his technique is all too familiar.
In 'Gyal Like You' feat Kizz Daniel where he interpolates the famous Christian chorus for a Highlife fusion, the melodies and delivery are all too familiar albeit the writing is impressive. The conscious single 'Abobi' which preceded the album release also carries the similarity in melody, delivery, and the use of female backup vocals.
Even when Patoranking partners with international artists Zion Foster, Popcaan, Gyakie, Ludacris, and Beenie Man as he reaches out to listeners in markets with solid Dancehall markets, Patoranking doesn't leave his comfort zone nor does he push the guest artists to outdo themselves.
The album didn't pick up until the 9th track where Victony lays a remarkable chorus on the Phantom produced 'Babylon' as he duets with Patoranking who slightly switched up his flow. Similarly, Diamond Platnumz also delivered a strong verse on 'Kolo Kolo' which is among the album's lead songs and Patoranking's last notable single.
Perhaps a female collaborator like Stefflon Don might have increased the appeal of the Killertunes-produced 'Na Na Na' which is one of the better songs on the album. The smooth Highlife tribute to his mother 'Mama' which is sonically tailored to appeal to the sensibilities of older listeners is also one of the better songs on the album.
Perhaps listeners whose first interaction with Patoranking is 'World Best' might find gratification in the music. However, the audience whose patronage he has enjoyed for the better part of a decade would likely find the album subdued by sonic predictability and a lack of artistic evolution.
Patoranking has enjoyed commercial success and longevity for his impressive talent. He would have to find the next gear should he desire to retain his relevance.
Ratings: /10
• 0-1.9: Flop
• 2.0-3.9: Near fall
• 4.0-5.9: Average
• 6.0-7.9: Victory
• 8.0-10: Champion
Pulse Rating: /10
Album Sequencing: 1.4/2
Songwriting, Themes, and Delivery: 1.3/2
Production: 1.5/2
Enjoyability and Satisfaction: 1.3/2
Execution: 1.3/2
Total: 6.8 - Victory