Interview by : Olivier Godin et Guillaume Nahry
Pictures by : Olivier Godin
on Wednesday, December 14th 2005 - 22 865 views
The embodiment of the good health of reggae made in Germany, Patrice (aka Patrice Bart-Williams) has stepped up a level in terms of fame thanks to his latest album "Nile", released last April. On Saturday 17 December, the young singer-songwriter will end his tour on the stage of the Zénith in Paris. In German, English and Jamaican patois, Patrice introduces the event and tries to dissect his success.
Reggaefrance / Your whole tour sold out, your flagship track, Soul storm, got heavy airplay, you even appeared on a French TV channel... "Nile", your latest album, truly propelled you to the top of the bill. Is there a reason for this success?
Patrice / "Nile" is no better or worse than my previous albums. It does, however, fit the spirit of the times more than my other records. After the very accomplished "How do you call it", I wanted to make something more human. I recorded in analogue and cut post-production to a minimum. I used the same working methods as at the beginning. I think you find the same atmosphere as on "Lions" (Patrice's first EP, released in 1999). This return to basics went down well. It was the right moment. So much the better.
You are probably more popular in France than in Germany, your native country. On Saturday 17 December, you will in fact bring your international tour with the Shashamani Band to a close at the Zenith in Paris. Do you have a real preference for the French audience?
The French musical landscape is rich and diverse. In your country, people are more receptive to innovation. I felt I was accepted very quickly. My style didn't shock. In Germany, on the other hand, artists tend not to innovate but to copy an existing model. When you bring something that goes off the beaten track, you almost have to justify yourself. Germans need time to appreciate.
Yet the reggae and hip-hop scene in Germany is in rude health, with artists such as Gentleman, Seeed or Puppetmastaz... How do you position yourself in relation to this new wave?
I have never tried to identify with any particular movement. Even when reggae became popular, I took care to keep my distance. I hold on to my difference. Besides, I refuse to define myself by my nationality. I don’t subscribe to the concepts of country or border. The world is my homeland. I belong to the people who are genuine, sincere and honest in what they do. It doesn’t matter where they come from.
On 17 December at the Zénith in Paris, you have several surprises in store for your audience. Among other guests, you will welcome the rappers of Saïan Supa Crew. How did this collaboration come about?
I crossed paths with Saïan several times at festivals. We clicked straight away. On stage they are incredible, really impressive. I had never seen artists like that before. We had tried to do something together several times, but it hadn’t worked out. Then one day they called me. They had the song (96 Degreez on their latest album "Hold-up"). I didn’t hesitate.
You work with hip-hop artists, you draw your influences from reggae, and you seem to like soul and funk too… Critics like to say your style is impossible to pin down. Do you agree with them?
I make black folk, millennium folk (laughs). The truth is, I don’t try to stick to a style in the way I write. I don’t want to make reggae just for the sake of making reggae. My aim is above all to express a feeling. If it’s aggression, for example, I’ll go for a rock style. It’s true that I have thrown myself into some resolutely reggae projects, with the Silly Walks Movement collective for instance. I felt like doing it at the time. But I keep moving forward. I’m always looking for new things to achieve, otherwise boredom sets in. All the great artists built themselves by knocking down established boundaries. Look at Hendrix, for example.
You mention Hendrix. Are there other artists you admire, whose work is a real source of inspiration for you?
Max Romeo and Bob Marley, of course, are figures with a special aura. Unconsciously, even though I never sought it, their style influences me. Otherwise, besides Hendrix, I can add Billie Holiday, John Lennon and Stevie Wonder to the list. They are among the greats of music.
And on today’s scene, do you see any artists who could become the greats of tomorrow, and with whom you would like to collaborate?
I had the honour of recording a track with Keziah Jones (Her again on "Nile"). For me he is one of the most talented artists around right now. I really wanted to work with him. That kind of collaboration can only be enriching. Generally speaking, I choose my featurings for the musical interest they generate, not for the cash they might bring me.
The albums of Capleton and Sizzla have a good spot in your record collection. In France several of their concerts have been banned, their lyrics having been judged homophobic. What do you make of this affair?
Running people down is not a good thing. I prefer to judge them on their deeper nature. I don’t care if they are black, white or gay. On the other hand, I find the banning of these artists out of place. If you want to censor intolerance, you have to go all the way. Why not punish the verbal excesses of certain clergymen? Why not crack down harder on racial discrimination at the door of nightclubs? Frankly, demonising Jamaican singers is a bit too easy.
Love is omnipresent in your lyrics. It seems to hit home with the female audience, who turn out in droves at each of your concerts. What do you say to those who call you a singer for teenyboppers?
Love is my spirituality. I like talking about love to girls. It’s natural, isn’t it? I like looking at them. And if they’re French, even better (laughs). And then I tell myself that if the girls are there, the guys will come. Seriously though, there are worse problems. But in a way, I’d rather the girls came to see me than went off to Star Ac. I really don’t see myself in the mould of those empty singers for girls. I have a message. I want to awaken consciences. I try to make things move at my own level.
Your father, Gaston Bart-Williams, was a writer committed to his country, Sierra Leone. He was even forced into exile. Are you involved in humanitarian projects for Africa?
When you commit yourself, you do it out of conviction, not to talk about it. I do it naturally, without pretension.
After your final concert at the Zénith, what will you do? Do you already have projects in the pipeline?
I worked really hard in 2005 and next year I plan to rest a bit. A live DVD of the tour should still come out soon, though. There will be new tracks on it, by the way. But I will really be back in 2007 with a new studio album.
To finish, let’s step out of the musical context for a moment. The Germans have just been called to the polls. What do you make of the result and of Angela Merkel’s appointment as Chancellor?
(Bursts out laughing.) She would never have been elected without Photoshop! They completely retouched her face on her official photos! It caused a huge scandal in Germany. Politicians are liars first and foremost. Angela Merkel is the first woman Chancellor and she will also be the last. To put things right, it would take a lot of sacrifices, and in Germany nobody likes sacrifices…
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