Tiago Alves, better known by the moniker, spans rap to pop as one of today’s leading producers
Key figures in the career of singers, music producers, throughout history, have inevitably also gained the spotlight. Here in Brazil, for bossa nova, Aloysio Oliveira was a leading name. In the late 1960s, Manoel Barenbein convinced the shy Chico Buarque to record an album and he became a key figure of Tropicalismo. Roberto Menescal has been at the forefront of albums by Elis Regina, Nara Leão and Maria Bethânia.
This list is long. Marco Mazzola signed the productions of Raul Seixas, Ney Matogrosso, Belchior and Simone. In the 1980s, Lincoln Olivetti put a pop accent on Brazilian popular music. This is just to name a few. All sold millions of copies and celebrated with the legendary gold, platinum and diamond discs.
In the age of digital platforms, the measure is the actors that each song can get, the ability to make talent viable (partnerships and participation in a recording) – and how much a producer can engage the audience on social networks, as well as the quality of the work. And one of those who shine in this not-so-new musical order is Tiago Alves, 36, of Rio de Janeiro, who goes by the nickname Papa, or simply Papacy. It was he who shaped, for example, the career of rapper L7nnon (we are talking about Lennon), one of the names that compete for the first places in the charts of the most listened to artists nowadays.
Papasessions
Papato is also responsible for the piece França, which brings together L7nnon, Xamã, Juliette and Welisson, recently released within the Papasessions project. The recording already has 2.5 million views on YouTube.
In the past he brought together Anitta, Snoop Dogg and Ludmilla to record the song Onda Different. Discovered Orochi in a rhyming street battle. This year he produced Sao Paulo bricklayer Aleck Johnson, who went viral with a video of him rapping in the middle of a construction site.
Papatinho, who recently received the Multishow Producer of the Year award, got his start with rap. Subsequently, he opened the space for trap, a subgenre of rap, in Brazil. He always takes care to look at new technologies to create his music for him.
“I don’t want to be dated to one time, one genre,” she says. Matheus Fernandes looked for him and put trap drums on the singer’s floorboards. He did the remix of the song It’s loveby Zezé di Camargo, in which his MPC, an electronic device for creating beats, played.
In the (digital) encyclopedia of Brazilian music, Papatinho knows well what his entry should be. “I’m an urban music producer. In it is rap, trap, drill, pop, funk, R&B…”, he says, a Stage🇧🇷
“I always do it my way, with my signature. I’ve managed to gain my identity, as have Pharrell Williams and Dr. Dre (American producers). Even with my transition from rap to pop, I’ve managed to keep the originality,” he argues.
On his Instagram profile, he warns that his productions already have more than 3 billion streams. And she keeps counting. Recognize that numbers matter. However, with the sincerity she has permeated the hour-long conversation with the report, she says it’s not the indicators that move it.
“I’ve always made music because I like it. I’m currently in the studio with a guy (Dx) who approached me in a hotel and got fired from management. Let’s do a song together. Tomorrow I can be with Anitta. I’ll always be the dad”, He says. Proof of this is his latest single, Progress for ours🇧🇷 In it, he joined Cidinho & Doca, pioneers of funk carioca, MC Hariel, of the new funk scene of São Paulo, and pupil L7nnon. He combined funk with drill, the London rhythm of the moment. The clip was recorded in Cidade de Deus, Rio. A personal achievement, according to him.
Career
Papatinho already has a 16-year career. He started out as a boy, intuitively cutting and splicing pieces of MP3 music. Undo it and assemble it another way. He has become a beatmaker, the one who builds the beats. Totally self taught.
His first professional job was with the rap group ConeCrewDirectory. “Forbidden” lyrics weren’t really her thing, she confesses. She preferred the beats. “I’m pretty straight,” she says. The nickname Papatinho comes from “only in the shoe” and has to do with his carefree way of being.
The money he started earning from 2010 onwards, and later, with his first hits, he invested in building his own studio, where the Papatunes record label operates. Currently he lives in front of the beach, but does not stay long in the surf: his pleasure is making music – and he also performs as a DJ.
Abroad, where it is called Papatino, the behavior is the same. If he travels, it’s to produce demos, beats and collaborations. He has previously produced for will.i.am, of the Black Eyed Peas group, and Jason Derulo. “The gringo wants to hear the mix. He wants our Brazilian percussion, but it can’t be anything too dirty,” he explains.
In times of racing for the top of the charts, Papatinho sees far and says that the current production will be seen in the future as an original Brazilian creation, just like samba and bossa nova. “This music from the suburbs, the funk beat, you only find here in Brazil. Anitta takes a lot of it, even in productions abroad,” he says.
Papatinho already has new cards up his sleeve. He has a new album with L7nnon ready for 2023. Besides the Dx guy, he has two or three artists on his radar. He is just waiting for the right moment. For anyone looking for a magic formula, he warns: nothing is easy. “It’s useless to invent a song. Do 10, 20. L7n hasn’t slept here on the sofa in the studio for two months.”
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Source: Terra
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
