T-Pain and Lil Wayne: T-Wayne

T-Wayne’s greatest legacy will be that even after hearing it, we will still be left with our imaginations to do the heavy lifting.
T-Pain and Lil Wayne

0. In medias res

Humor has long been used as a powerful cover for disseminating a serious message. Take, for example, this moment from T-Pain and Lil Wayne’s long-promised and never-delivered collaborative victory lap T-Wayne. Following an introduction from T-Pain in which he times a line to end at the same time a sample of the Oompa Loompa song from Willy Wonka & the Chocolate Factory so that it goes “this is what we — doompety do”, the Auto-Tune forefather claims “You think I’m wack, but one day, you’re gon’ see.” It’s the most on-the-nose a rapper has been since Future’s “Tried to make a pop star, and they made a monster” from his world-conquering DS2. And in this instance, calling T-Pain, a rapper would be correct, as he delivers the line following one of the most intense rapping efforts of his career. What T-Wayne was promised as — two artists using Auto-Tune for separate purposes and stepping into each other’s worlds — ended up as much that as it is a fascinating exploration into what the commercial side of an experimental phase would sound like.

I. Setting the stage

The late 2000s in retrospect appear as a liminal time in music’s commercial prospects: in-between the ringtone era’s excesses and before streaming upended the way sales are calculated and made. T-Pain was a force in the former, while Lil Wayne was the only artist of this period to break the million-in-a-week sales mark with his album Tha Carter III. Individually, each released tracks that made their way to everywhere from school dances to exclusive clubs, from hipster DJ sets to top-40 stations. Together, they notched a pair of Billboard top-10 and double-platinum singles with “Got Money” from Wayne’s aforementioned album and “Can’t Believe It” from T-Pain’s 2008 effort Three Ringz; in the video for that single, Wayne sports a “T-WAYNE” shirt, one of the most visible monuments to the album’s speculative hype.

This hype came not from the idea of a crooner and top-of-their-game lyricist being novel — see Jay Z and R. Kelly’s tepidly received collaborative double The Best of Both Worlds and Unfinished Business from the early 2000s as a predecessor — but that this pairing knew how to make ubiquitous pop songs, and a whole album of this would promptly dominate the charts. Nearly a decade has passed since word first got out, and the landscape of rap and pop (sometimes a redundant phrase) has become less saccharine and warped, from the Soundcloud influences in pitch altering to trap’s dark ambient streak. T-Pain is a seer and Lil Wayne a timeless talent; both, however, have anachronistic elements in having peaked so young and so brightly. Thus, T-Wayne runs the risk of sounding intrusive instead of a welcomed guest who arrived oh-so-late. Luckily, both performers understand the caveat of attaching high stakes to the album, and as such, coast gleefully.