There’s something poetic about watching Patoranking circle back to where it all began, Ajegunle. The city that raised him, schooled him, and soundtracked his earliest dreams now stands as the backdrop for his latest offering, ‘No Jonze’, having risen from the chaos to becoming a global voice for Afro-dancehall. To Patoranking, ‘No Jonze’ doubles as a declaration of intent and a rhythmic throwback to the Galala sound that shaped an era. A subtle reminder that evolution is often unoriginal without paying a visit to one’s roots.
“Galala is my foundation and it aligns perfectly with the theme of the album and best explains the headspace I’m in. It was just right to start with ‘No Jonze‘, which embodies the typical Galala sound.”
Patoranking
For an artist whose journey reads like a masterclass in resilience, ‘No Jonze’ is deeply symbolic, an appropriate prelude to his forthcoming fifth studio album. ‘No Jonze’ soundtracks Patoranking revisiting the foundation while looking ahead to his fifth studio album, a project he describes as music that “makes you feel”. From his quiet reflections on fatherhood to his thoughts on preserving African music legacies, he speaks with the calm conviction of someone who has seen it all, lost some, and still chooses joy.
In this conversation, Patoranking opens up about bringing Galala to a global stage, fatherhood’s quiet lessons, the unspoken responsibility of legacy, and why ‘No Jonze’ heralds this new phase.
Your new single ‘No Jonze’ is a love letter to the Galala sound of Ajegunle and a bold statement for your upcoming fifth album. Why did you choose ‘No Jonze’ as the lead single to herald this new era, and how does it set the tone for what fans can expect from the album?
Patoranking: Considering the theme for this new project, I wanted to make music that I grew up on, music that makes you feel and music that you can relate to no matter where you are from. Galala is my foundation and it aligns perfectly with the theme of the album and best explains the headspace I’m in. It was just right to start with ‘No Jonze‘, which embodies the typical Galala sound.
The track’s title flips Lagos street slang into a universal mantra. What’s a personal moment in your life when you had to tell yourself “No Jonze”—don’t fumble the moment—and how did it shape you?
Patoranking: I think every single day that goes by, I remind myself silently of why I started and why I can’t be caught tripping. There hasn’t been a particular scenario that pushed me to the edge where I had to tell myself “No Jonze” but it’s a daily silent mantra for me to keep my focus, knowing I am a role model to many, a father and an ambassador of the culture.
‘No Jonze’ brings back the raw, percussive energy of Galala, a sound you’ve called the “stepchild of dancehall”. Growing up in Ajegunle, what’s a vivid memory of how Galala music shaped your dreams as a young artist, and how does it feel to pay homage to legends like Daddy Showkey and Marvelous Benjy in the video?
Patoranking: My fondest memory of Ajegunle is when I would be at every single street carnival dancing to the biggest Galala songs of that time, later transitioning into an artist with the sound having a big influence on me and the genre of music I identify with reggae dancehall. It was a joy for me to return to the same neighborhood that shaped my musical sound and film there, recreating the same sound from decades ago. Having legends like Marvelous Benjy, Allen B, and others grace the video shoot was just cool man! We also had a mural of Daddy Showkey, Baba Fryo, Danfo Drivers, African China etc.
The ‘No Jonze’ video feels like a cinematic time machine to ‘90s Lagos. What was it like filming in Ajegunle with those street vibes and real faces? Any behind-the-scenes moments that hit you emotionally?
Patoranking: Filming in Ajegunle was the right choice we made for this song. Because it’s just right to take it back to where it all started, the home of the sound – Galala. That day brought a whole lot of memories; the come up, the struggles and where we are now. Reconnecting with people from my past again was the highlight of it for me. People like Marvelous Benjy, Allen B, Skinny, Storyteller also known as Teller Moni just to mention a few. We launched and we danced on set, it was fire. It’s important to celebrate ourselves whiles we are alive you know.
Yes, it is…You’re a global star, but you’re also a father and a Lagos boy at heart. Can you share a “regular life” moment—like something you do with your daughters or a simple routine in Lagos—that keeps you grounded when you’re not on stage or in the studio?
Patoranking: When I’m not on stage or in the studio, I spend time with my daughters. I try to show them Lagos through my eyes but not the rough part (laughs). I take them to school sometimes or pick them up from school and in those moments I’m just Wilmer and Welda’s dad.
How do you balance the demands of being a global artist with those personal moments, and has fatherhood changed the way you approach your music or your purpose?
Patoranking: I always try to find a balance and not lose myself. Yes! Fatherhood has further refined me because anytime I want to do something now, whether is a lyric or a music video, I have to first remember I’m now a father and have to be extra responsible with things I do or say out there.
Recently, on an Afrobeats podcast, the host, aged 28, said she didn’t know who the veteran artist and your colleague Asa is, assuming she was too young to know her. What’s your take on this generational gap in Afrobeats appreciation, and how do you see your role in bridging the old and new sounds of African music?
Patoranking: We really need to educate ourselves more about both the past and the present of our music. That’s the only way we can tell our stories properly to the world. It’s not just one person’s job, it’s up to all of us including artists, DJs, the media and even the fans to keep the music from all generations alive instead of just focusing on current trends. We have to embrace what came before us because even Afrobeats is influenced by many of the old sounds. Asa is a great musician, I love her! Just look at ‘No Jonze’, it’s important for me to use my music to educate and show those classic influences while bringing them to a new audience.
With ‘No Jonze’, you’re bringing “Galala” to a global stage alongside sounds like Dembow and Gengetone. How do you respond to naysayers who claim Afrobeats is “dying” or losing its edge?
Patoranking: Galala has its influence from Dancehall and it’s interesting to see how sounds from different parts of the world share a similar background story. Regarding Afrobeats, when it comes to the people it’s dying or losing its edge, I see that narrative as misguided. Afrobeats is still in its infancy. I understand there may be a decline when it comes to Afrobeats to the world because the sound is starting to sound same. But there’s still more to our music. In the beginning, it made sense to group everything under a single genre Afrobeats but now we need to showcase all the diverse sounds and cultures we have as a continent of over a billion people. We need to educate the world about our many sounds while celebrating what has brought us to this point. Let’s expand the narrative.
Your last album, ‘World Best’, was a powerful manifesto of self-excellence and social commentary. Without giving too much away, how does this fifth album build on or differ from that narrative, and what new stories from the streets or your life are you weaving into it?
Patoranking: Yes, ‘World Best‘ was all about self actualization and reaffirming my musical prowess. With this fifth studio album, I’m in a space where I want to take the world on a musical journey, drawing inspiration from the music I grew up on in the ’90s and infusing it with a touch of the present. Music that makes you feel. Every single song is crafted around stories we can all relate to in our day to day lives.
Through the Patoranking Foundation, you’ve impacted over 5,000 young people with scholarships and community projects like the football turf in Lagos. What’s one story from your foundation’s work that’s stuck with you, and how does it fuel the themes of hustle and resilience in ‘No Jonze’?
Patoranking: I remember when we were looking at building the football turf in Ebute Metta. We reached out to so many partners and brands to support us. But no one wanted to support us. Our mission is to build 99 more across different underserved communities across Africa. So my manager told me, “Pato, since this is important to you, let’s go ahead and fund this first one ourselves.” And so we did and it’s the best thing we ever did. The community also helped with the construction. To me this story is what no Jonze is all about. It’s focus and keep your eyes on the prize no matter what. If you believe something, you have to push through and make it happen. Today seeing the kids in the community play on that pitch, host tournaments makes me happy and it shows why we do this work. It’s not just about building a football turf, it’s about empowering communities and inspiring the next gen to stay focused on their dreams.
As a UNDP Regional Goodwill Ambassador, you’re championing youth innovation across Africa. What’s one bold idea you’d love to see African youth embrace to shape the continent’s future?
Patoranking: For them to embrace their personal stories because that’s their superpower. Just like how I use my own story and experiences through my music or speaking. So no matter the medium, I feel our stories are way more powerful than we think. For the Patoranking foundation, sharing your personal story is one of the requirements for our scholarship applications.
‘No Jonze’ is described as music for “resistance, survival, and freedom.” Looking back, what’s a moment in your career where music became your tool for resistance or survival, and how do you hope this single inspires underdogs listening today?
Patoranking: Music is a way to share my story, it’s my medium to pass a message while making people dance you know. Making music that makes sense is important to me. For underdogs, I want them to keep going, no matter what. You can make good, relatable music while making people dance. I lost my sister and brother in law while I was recording this album and I found joy through my pain. The music gave me hope, it kept me going. Music is how I can sing how I feel and own it. I hope No Jonze inspires everyone to embrace their struggles and keep pushing forward.
Tracks like “Babylon” on ‘World Best’ tackled systemic oppression. Are there similar socio-political themes in the new album, and how do you balance those heavy topics with the dancefloor energy you’re known for?
Patoranking: Yes, always! You will always find songs like this on my albums. I make sure it’s not too heavy, so I balance it with either infectious beats or catchy melodies. Sometimes it’s even how the track is arranged and mixed. ‘No Jonze’ was arranged in a way to make you want to move and even how it was mixed to give you the old Galala feel.
You’ve performed in over 50 countries and worked with artists like Bob Marley’s estate and Major Lazer. How does it feel to see Afrobeats and Afro-dancehall influencing global music, from Latin America to the Caribbean, and what’s one misconception about African music you want to set straight?
Patoranking: I absolutely love it and there’s so much more to come! African music, specifically Afrobeats is not dying. There’s so much more to us, many genres from the continent. We are over a billion people with diverse cultures and there are so many talented young artists, producers, music execs, and more. More to come
When you look at your legacy, what’s one impact; musical, cultural, or social you hope Patoranking is remembered for in 20 years?
Patoranking: That I was able to use my music to bless my people, that I was able to use my music to celebrate us Africans.
If you were to host a street party in Ajegunle to celebrate ‘No Jonze’, what’s one food, one drink, and one classic “Galala” track (besides your own) that’s a must-have to keep the vibes right? And why these choices?
Patoranking: Food will be Bread and Beans. Drink will be Cold Water and one classic Galala song will be Marvelous Benjy’s ‘New Dance’. The Party is set!! Why? Because that’s what we did!
