Anyone who would refer to themselves as a connoisseur when it comes to music or even just Ghanaian music, would probably turn up their nose if they hear praise for “One Corner”, the viral hit song from Patapaa Amisty.

Even I did, and I don’t consider myself an expert (pseudo or not) in Ghanaian music.

This is not to say that I had a dislike for Patapaa Amisty’s song…I rather absolutely loved it and subjected my colleagues to at least 4 plays of the fast-paced “banger” every day at the office.

But I would always make a mockery of the lyrical content of the song.

The two superpowers of West Africa are each trying to outshine each other making neutrals like Mr. Eazi among others…

In all honesty, it is not like the average Ghanaian musician these days included such lyrical dexterity in their music, but Patapaa Amisty’s One Corner was really at the bottom of the food chain when it came to lyrics.

The song, however, was a FUCKING predator in airplay and virality.

My good friend, David Mawuli was one of the first few people to put the song up for download online when he posted it on Pulse.com.gh, and that was how I got the song on my phone.

This is not to say I hadn’t heard of the song before David listed it online, but I am an avid user of Apple Music and Spotify, and if a song is not on those two platforms, it would be very difficult for me to have it on my devices.

Though I must add, prior to chancing upon the downloadable version of the One Corner song on Pulse.com.gh, I had searched for it on Google to no avail.

And when I did download the song, it became a routine for me to either start my day with it or end my day with it. I would play “One Corner” when I am sad, overly happy, angry or even just bored…and it gave me the right “vibes” every time I needed it to.

This is coming from me, someone who got into trouble in Pope John Senior High School for spending time with Dela Amenyedzie dissecting Eminem, Kanye and Jay Z rap lines in search of deeper poetic context, someone who’s Genius IQ is on a high, someone who calls out Medikal openly over the #NonfaPunchlines everyone else celebrated as “dope”.

Somehow, I loved “One Corner”, but in equal measure, I hated the lyrics of the song so much, I didn’t want to be associated with it.

So when these “music connoisseurs” I held in high regards would bash the song and proclaim a deafening death for it, I would tag along and nod my head like the proverbial “agama” lizard.

And you can be sure that once I left those gatherings, I would turn up in my Uber (if the Driver Partner has an aux cable) with the One Corner song without shame, I mean, who’s there to judge me.

So this post is also sort of an expose, it is my coming out as an avid fan of Patapaa Amisty’s “One Corner”.

I formulated some theories about why I (and thousands across West Africa) loved the “One Corner” song.

At first, I attributed it to the beat, which is indeed the catchy tune on its own. The beat would easily send you cracking some crazy dance moves even without Patapaa’s “lyrical content”.

And then I attributed it to the rather awkward version of twerking that accompanied the song. After all, the song went viral in a video showing some Swedru youth breaking out “crazy moves” to the tune.

And like many other “critics”, I prophesied an instant death for Patapaa’s music career that would be timed with the slow decline of the virality of One Corner, but with the release of his follow-up song, “Patupa” featuring “Buda“, he has changed my point of view.

Maybe it is too early to call it, but it seems Patapaa, like Shatta Wale, Kwaw Kese and even Lilwin, has found the G-spot of the Ghanaian music lover.

You see, the G-spot is not stimulated by “sensible” lyrics or “deep” wordplay, it is not moved by a “wild” composition or unique “flow”. Like the G-spot in women, it is the spot where if you find, anything you do to it would cause a “beautiful” reaction.

What do most Shatta Wale, Kwaw Kese and Lilwin songs have in common with the two Patapaa songs?

You should have answered, “nonsensical” lyrics and a constant return to the “winning instrumental with slight changes”.

And this is what you find in Shatta Wale songs, an unbridled outrage, cloaked rubbish, repetitive catchphrases or even direct trash. Cue “Kpo Kpa” etc.

And this trend is repeated by Lilwin, he keeps saying a bunch of words with no coherence, repeating some catchy parts on a rather dance-able and fast-paced instrumental.

Kwaw Kese might be the biggest offender when it comes to spewing lyrics that seem to have no connection at first look. Though over the years, Kwaw has evolved, but he has stayed true to his fame-bringer, which is nonsensical lyrics.

And Patapaa Amisty might be no different from the aforementioned, he is the one tickling the G-spot of Ghanaian listeners the most and if he keeps hitting that same spot over the years, even after multiple orgasms, we might just have a new star on our hands!