The PARTYNEXTDOOR P3 album turns ten years old in 2026, and the anniversary now carries an official release: the P3 10-Year Edition, released on August 21, 2026 through Sony Music Canada, adds three long-requested songs to the 2016 album. P3 first arrived on August 12, 2016, as the Mississauga singer’s third studio album on OVO Sound and Warner Records, and it remains the fullest statement of the sound he built for Toronto after dark.
The three added songs, “Some of Your Love,” “Routine Rouge” and “You Made It,” are not new recordings. They premiered on OVO Sound Radio in 2016 as unreleased demos and spent a decade circulating among fans before this official release made them available for the first time.
Originally premiered on OVO Sound Radio in 2016 as unreleased demos, the records have continued to circulate among fans and build significant organic momentum across platforms. (Sony Music Canada)
What the PARTYNEXTDOOR P3 Album Built in 2016
P3 runs 16 tracks and just under 66 minutes, opening with the seven-minute “High Hopes” and closing with “Nothing Easy to Please.” It debuted at No. 3 on the Billboard 200 with 50,000 first-week units and later earned gold certification, commercial proof that a slow, spacious, dancehall-tilted R&B record from a Mississauga songwriter could travel at full album scale.
The singles carried two sides of the same artist. “Come and See Me,” produced by Noah “40” Shebib and featuring Drake, became the era’s defining late-night record, all patience and unanswered messages. “Not Nice,” built by Nineteen85, Supa Dups and Illangelo, leaned the other way, into the dancehall and reggae influences PARTYNEXTDOOR inherited and never hid. Between them sat deep cuts that fans still argue over: “Only U” over a Boi-1da beat, the gospel lift of “Joy,” and the long confessional “1942.”
Three Demos, Ten Years of Demand
The 10-Year Edition exists because the internet refused to let three songs go. “Some of Your Love” has passed 400,000 creations on TikTok, and “Routine Rouge” sits near 100,000, alongside millions of plays and views across SoundCloud and YouTube for records that were never officially out. That is a decade of organic demand with no label push behind it, and it explains why an anniversary edition leads with vault material instead of remixes.
Heard in sequence after “Come and See Me” and “Nothing Easy to Please,” the three additions close the album the way 2016 listeners always wanted it closed. They also document how deep the P3 sessions ran: the leftovers from this album had enough life in them to trend ten years later.
A Production Bench Built Inside the OVO Family
The credits explain the album’s coherence. Noah “40” Shebib, the architect of the OVO low end, produces or co-produces across the back half of the record, including “Come and See Me,” “Joy,” “Brown Skin” and the closing “Nothing Easy to Please.” Boi-1da supplies “Only U,” Nineteen85 leads “Not Nice” with Supa Dups and Illangelo, and PARTYNEXTDOOR himself handles “Nobody,” “Temptations” and “Spiteful.” It is a small, trusted circle rather than a guest-producer carousel, and the album sounds like one continuous night because of it.
The sequencing rewards that patience. The full 16-song tracklist, “High Hopes,” “Don’t Run,” “Nobody,” “Not Nice,” “Only U,” “Don’t Know How,” “Problems and Selfless,” “Temptations,” “Spiteful,” “Joy,” “You’ve Been Missed,” “Transparency,” “Brown Skin,” “1942,” “Come and See Me” and “Nothing Easy to Please,” plays as a single arc, which is why fans treated the three missing demos as unfinished business for a decade. The 10-Year Edition, released with accompanying visualizers for the added songs, finally closes that arc in official form.
Why P3 Still Anchors the Toronto Sound
Every era of canadian hip hop and R&B has a record that explains its mood, and for the OVO decade that record is P3. PARTYNEXTDOOR wrote and produced for others at the highest level, but this album is where his own voice, part singer, part producer, fully dancehall-aware and fully Toronto, got a widescreen canvas. The space in these songs, the bass weight, the refusal to rush a chorus, became a house style that a generation of Toronto artists grew up inside.
Ten years on, the album has not dated into nostalgia. Its songs still sit naturally in late-night playlists next to the records they influenced, and the 10-Year Edition gives new listeners the complete document: the 16-track album as it landed in August 2016, plus the three songs the fanbase spent ten years asking for by name. That is how a catalogue piece should be handled, honestly framed, fully sourced and finally complete.
