FACES. | JORDAN PATRICK

Jordan Patrick | Artist 

eightonethree. | Growing up in Tampa, what role did the city play in shaping your creative voice and musical style?

Jordan Patrick | Growing up in Tampa, I don’t think the city had a direct influence on my musical style, because my foundation in music was really built at home. My dad exposed me to a wide range of artists early on Prince, Al Green, James Taylor, so my starting point was already pretty diverse and outside of just one scene. As I got older, though, being in places like the Boys and Girls Club, going to school, and just being around the city, I naturally started to take in more of the local culture. That meant hearing artists like Tom G and tuning in to what was playing on the radio. That exposure didn’t necessarily change how I create music, but it did give me a deeper appreciation for certain sounds and how music connects to culture like the way certain songs make people dance a certain way or act a certain way in different spaces. So while Tampa may not have shaped the core of my sound, it definitely shaped the way I experience and understand music on a cultural level.

eightonethree. | Were there specific Tampa influences whether people, places, or culture that pushed you toward music and art? 

Jordan Patrick | Yes, definitely. I would say the biggest influence that pushed me toward music was church. As I mentioned earlier, church was where I first experienced how powerful music could be, how it could shift an atmosphere and move people in a real way. That stayed with me. Another major influence was school, especially my time at Stewart Middle. Middle school was a very formative period for me. That’s when my independent music taste really started to develop. I began experimenting with making beats at first using tape, and then, when I got my first copy of FL Studio in sixth grade, I started creating on the computer. That moment changed everything because it shifted how I listened to music and gave me a whole new way of engaging with it.

Beyond that, even something as simple as riding around different parts of Tampa and hearing a variety of music played a role. Whether it was on the radio or what friends were listening to, those experiences shaped my appreciation for different sounds and styles.

On the faith side, while I don’t currently have a permanent church home since my pastor passed, my spiritual foundation is still very important to me. I continue to stay rooted through daily practices like reading the Bible which I’ve been consistent with for years now and I still join services virtually when I can. For me, church has always been supplementary to my personal faith, but that early connection between music and spirituality was instrumental in my journey.

eightonethree. | How do you think coming from Tampa sets you apart in an industry that it's often dominated by markets like LA,  New York, or Atlanta? 

Jordan Patrick | Coming from Tampa sets me apart because the cultural influences here are different. We’re in the South, but our heritage and sound have always been shaped by outside cultures. Of course, we have Tampa-specific sounds like jook music—and you can also hear the influence of Miami bass in what comes out of the city. That mix creates a unique foundation.What really makes me different is how being from Tampa shapes my perspective on music and culture. In places like New York, LA, or Atlanta, there’s a sense of ownership. New York invented hip-hop, LA birthed legends, Atlanta dominates the current wave. But being from Tampa, I never had the luxury of leaning on that kind of superiority complex. Instead, I had to be more in tune with what was happening everywhere else, take it all in, and then put my own spin on it. So, in a concise way: what sets me apart is the way Tampa taught me to process and blend outside influences. Because we’re not considered one of the “major” music hubs, I’ve always felt the need to pay attention to everything from different cultures, different styles, different regions and then filter all of that through my own lens. That blend, that openness, is what gives my sound its edge.

eightonethree. | When you're creating, what's your process like? Do you start with visuals, words, or sound? 

Jordan Patrick |For me, the process almost always starts with music first rather than drums or lyrics. Even with my solo work, like my track Slide, it began with building the sample. I wasn’t walking into the studio that day planning to rap or create a specific record; it was more about sitting down, touching instruments, and letting things develop organically.

That day I made a few different samples, but one in particular stood out and sparked an idea. Interestingly, the original beat I built for Slide wasn’t even the final one. I remember hearing this snare and thinking, what if I made the entire beat around this one sound? That experiment ended up becoming the foundation of the track.

So my process usually begins with chord progressions and melodies guitar, piano, or whatever instrument feels right at the time. That influence really comes from growing up in church. When the preacher spoke, you’d hear the organ carrying the room. There weren’t drums dominating the sound, maybe just a cymbal every now and then. It was really the chords and the emotion behind them that set the tone. That’s how I approach creating: melody and feeling first, everything else follows.

eightonethree. | Working with artists like A$AP Rocky is a milestone. How did that collaboration come about and what did you take away from those experiences? 

Jordan Patrick | That collaboration really came about organically. Back in 2019, my guy Robert Gallardo who’s like a brother to me now moved back to St. Pete after spending time in New York and LA. He already knew of me and respected what I was doing, because at that time I was producing pretty much everything coming out of the city. Production was really how I built my reputation and got a lot of recognition.

We first met in person at a Key! concert, and from there we became cool outside of music just hanging out and building a genuine friendship. Then in 2020, during the pandemic, Rob reconnected with Rocky in LA. He told me Rocky had heard some of my work and wanted me to send beats. At first I couldn’t make the trip because of the lockdowns, but eventually I got the chance to pull up to LA.

When I finally met Rocky, it was surreal. I met him, Tyler, the Creator, and Rihanna all in the same night at the studio. That first session didn’t immediately lead to a release, but it made a strong impression both ways. From there, I continued sending Rocky different packs of beats not trying to tailor something that just sounded like “a Rocky type beat,” but instead sending what I genuinely thought was dope.

Over time, I started flying back and forth to New York and LA to work with him, and eventually even went out to Barbados. That’s when things really locked in. By then, it wasn’t just about music it felt like family. That’s how records like “Hijack Ruby Rosary” came about. The whole thing has been organic, built on trust and shared creativity.

What I really took away from working with Rocky is the importance of trust between artist and producer. A lot of artists today want full control, which makes it harder for producers to truly create. But Rocky is different; he trusts the process. That trust is what allows you to push boundaries and make something fresh. The greatest artists whether it’s Kanye, Tyler, Michael Jackson, or Pharrell all had eras, all took risks, and all built worlds with their music. Rocky is the same way.

For me, that’s the beauty of collaboration. Even if I’m not the face of the record, my vision and imprint are still part of something bigger. It’s about making music that feels good, not chasing trends. And working with someone who truly values art over ego that’s the best part.

eightonethree. | Do you feel a responsibility to represent Tampa when you're out in different cities or collaborating on bigger stages? 

Jordan Patrick | I wouldn’t say I feel a responsibility in the sense of carrying the whole city on my back, but I definitely take a lot of pride in being from Tampa. Coming from a smaller city, where historically we haven’t had many artists break through on a national level, I think the best thing I can do is be the best version of myself and always let people know where I’m from.

I stick up for Tampa a lot because people’s perception of Florida is usually based on stereotypes or surface-level ideas. They don’t really understand the culture here, and it’s far different from what outsiders assume. So, in a way, when I’m out in other cities, I feel like I’m representing not just Tampa but the whole state showing people there’s more to Florida than what they think. At the same time, I just love my city. Tampa is fire, and people who haven’t traveled enough don’t realize how good we have it here. Of course, every place has its flaws like I wish Tampa stayed open later, especially for food but overall, it’s home. And I carry that pride with me everywhere I go.

eightonethree. | How do you balance staying true to your Tampa roots while also evolving on a global scale as an artist?

Jordan Patrick | For me, it’s really about not going for everything just to be part of a scene. Being from Tampa and also the way my dad raised me instilled certain principles in me as a man. So when I’m in different cities or in global spaces, there are things I know I will and won’t do. Some people will compromise themselves just to fit in, but I want to be able to come back home with a badge of honor, still looking and feeling true to who I am. People know me for that. When they see me, I’ve usually got my Tampa hat, an Orlando hat, or even a Wayne’s World hat. It's always a reflection of Florida. I take pride in being recognized that way. At the end of the day, I’m comfortable with myself. If the opportunities I have right now were the highest point I ever reached, I’d still feel fulfilled because I’ve already done more than most people could say they’ve done in a lifetime. I think that gratitude and comfort in who I am is what allows me to keep growing. By staying true to myself and my Tampa roots, I naturally create more opportunities to evolve on a global scale.

eightonethree. | What advice would you give to young creatives in Tampa who want to make their way into music and art, but don't know where to start?  L

Jordan Patrick | For beginners, the biggest thing is organization and discipline. You have to carve out time and commit to it at least an hour a day. Even if the work you do in that hour isn’t perfect, showing up consistently matters more than waiting for inspiration. It’s like going to the gym: every workout won’t be your best, but it’s better to show up than to skip. The same applies to creative work. If you want to make beats, it’s not just about learning how to make a beat, it's about learning how to use the tools. Whether that’s a DAW, sewing machine, design software, or an instrument, you’ve got to get hands-on. Learn the fundamentals, then get out of the “education zone” and actually create. Don’t just watch tutorials forever, apply what you learn, even if it starts small, like making a pillowcase if you’re learning to sew.

For those who’ve already started, my biggest piece of advice is: don’t move to LA or New York just because you think that’s the only way to succeed. If you’re good enough, they’ll fly you out. Tampa is more affordable, and in today’s world, you can build a fan base from anywhere. I’ve met people with huge followings online who weren’t actually doing well in real life. Comparison is the thief of joy optics aren’t real. What matters is the work you’re doing and staying consistent.

When you start performing, don’t be discouraged by empty shows. Everyone starts that way even major artists did. I remember seeing Travis Scott perform to a crowd of maybe 10 people. The point is to keep going. Every song or project won’t be a “Slide” . Sometimes the impact is slower, but that doesn’t mean it’s not valuable.

The key is to stay rooted, stay authentic, and keep publishing. Be proud to be from Tampa. When people ask me if I still live here, I tell them yes with pride. Because success isn’t about chasing optics, it’s about building something real, something that lasts.

eightonethree. | What story are you trying to tell with your work right now both musically and visually? 

Jordan Patrick | Right now, the story I’m telling is centered on growth, self-love, and independence. I’m in a season where I’m getting closer to God, I’m prioritizing my mental health by going to therapy, and I’m taking care of myself physically. Five years ago, I wasn’t this version of me.

Part of that growth comes from leaving a relationship that wasn’t right for me and realizing how much I had been shrinking myself settling for less than what I deserved. Through conversations with friends and my therapist, I had to face the fact that I was selling myself short. Growing up, confidence was often seen as “doing too much,” so I learned to dim my light. Even in my career, I stayed behind the scenes as a producer when my original dream was to be an artist. Producing started as a way for me to make music for myself, but I let that play out quietly.

Now, I’m in a place where I’m fully embracing confidence and self-love. I’m publishing the things I genuinely believe are dope, regardless of outside validation. Take my song “Slide” as an example. I thought it was special before anyone told me it was. That’s the energy I’m carrying now: if I believe in it, that’s enough.

Visually, it’s the same. I come up with my own concepts and ideas, like the handball court video I drove past that spot and envisioned it before it ever came to life. It’s about acting on ideas, taking the shot, and trusting yourself. Kobe Bryant is my favorite player, and I try to approach my art the way he approached the game: shoot with confidence, no matter what’s in front of you.

And when I look back, every time I’ve taken a shot whether it’s a song or a video it’s worked. None of it has failed. That’s why the story I’m telling right now is about honesty, confidence, and creating my own peace. My goal is to encourage people to do the same: trust themselves, embrace self-love, and never be afraid to shoot.

eightonethree. | If Tampa could evolve more as a hub for music and art, what would you like to see happen here? 

Jordan Patrick | I think Tampa needs more events that truly open doors for new and unknown talent. Right now, we tend to put the same artists and DJs on every bill, which creates a cycle where only a handful of people are given opportunities. That limits growth. Every show doesn’t need to feature established names. Sometimes you need to let new artists get on stage, even if they’re not polished yet. I want to see artists bomb, I want to see artists grow, because that’s part of the process.

When I think back to Doechii’s first show, none of us knew who she was at the time. She got on stage, performed, and people recognized the potential. That’s how moments are created. But if we only keep recycling the same names, we’ll miss out on the next wave of talent.

We also need more variety in the types of events we host R&B nights, spoken word, open mics, genre-specific showcases. In places like LA, you can stumble into random events and discover new voices. Tampa could benefit from that same energy. We need spaces where first-time performers can take the stage, even if they’re nervous or still developing. That’s how you build a real scene.

On top of that, we should think about accessibility. A lot of shows here start too late, and if you’re the first act, you might end up performing to five people. But even those five people could become five new fans five people who didn’t know you existed before. If we want Tampa to grow, we have to be both more cutthroat and more supportive. Give people opportunities, accept that not every set will be perfect, and create spaces for experimentation. That’s how you build a hub that thrives.

eightonethree. | What's next for you are there projects you’re particularly excited to share?

Jordan Patrick | Right now, I’m really excited about my upcoming project, Don’t Be Dumb. That's the next big thing on the horizon. I’m also focusing on solo material, marking the start of a new era where I’m prioritizing my own music, building confidence, and earning the love and cosigns that allow me to fully lean into this work.

I have other projects in the works as well, though I’m not ready to share all the details yet I don’t want to prematurely reveal anything or get ahead of myself. What I can say is that this next phase is about consistency and putting out more music under my own name. Even in years past, I’ve been present through my production work, but now the focus is more about me as an artist creating without shrinking myself to fit into rooms or expectations.

Interestingly, dedicating myself to solo projects has also opened doors for additional opportunities and client work, which has been a rewarding byproduct of this focus. Overall, the next chapter is about growth, visibility, and putting my full energy into my own craft.