Apr 16 2026
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BASHY – BEING POOR IS EXPENSIVE

West London’s Bashy emerged amongst the brewing Grime scene in the early 2000’s (with his Chupa Chups themed mixtape, Bashy.com project and other early indicators of branding prowess), as a juxtaposition to the street-orientated or more aggressive style & sound that was generating much attention and fanfare, from his famous battle with Ghetts, genre-evolving tracks with the likes of Naughty Boy and Big Narstie, to creating one of the greatest songs ever, Black Boys, a cultural staple. Continuing to evolve in a transitioning industry, from working as Assistant Music Supervisor on the Adulthood movie soundtrack in 07/08, with it’s lead single, to his own 2009 game-changer, Ransom featuring Wretch 32 & Scorcher, displaying a more artistic and cinematic approach (also considered as the seed from which bloomed the Top Boy universe), followed by the upbeat Millionaire and the introspective Life, leading to the release of his album, Catch Me If You Can. Ironic, as around that time, he transitioned further into acting (with movies such as Shank and the theatrical Markus the Sadist in 2010), though he did feature with the Gorillaz, and put out a couple EPs, not long before starring in the now cult-classic Top Boy, disappearing from music altogether. With a multitude of roles now under his belt as Ashley Thomas, reprising his role in Top Boy’s Netflix resurgence, as well as casted in the latest adaptation of A Great Expectation, the now established actor returns back after 15 years as Bashy with this art-piece of an album, Being Poor Is Expensive.

Whilst Bashy’s jovial aura, bright colours and the shiny ‘B’ earrings helped the young artist stand out, it was his unique perspective of the times that shone light on his artistry, last heard on Catch Me If You Can, with a heavy dose of soul, cultural elements, nostalgia and political themes, however, it may not have been as sustainable in a year that Dizzee released Dance Wiv Me (ft. Calvin Harris) and Bonkers, just before Tinie Tempah and Pass Out. CMIYC felt like it was tailored to the times, whereas with Being Poor Is Expensive, it just feels like a perfectly crafted medium of expression, true to it’s message, coming of age, a beautiful ode to his Windrush heritage, growing up in multicultural London, to still manoeuvring through recurring negatives amidst success.

A concise eleven tracks, starting with The London Borough of Brent, a love letter to the ends, complete with it’s British transport ad-libs, it sets the tone, as he paints the parallels of his success and the misfortune of school mates, “some will break, some break through”, feeling righteous very early as he harmonises, “drugs ain’t cool”, which he quickly follows up with, “but the place where I’m from, people want a space to escape to”, leading into a barrage of compassion and empathy, further accentuated by the choirs, this is only the first track and he’s rhyming taxes, the negative outcome of gangs and the statistical risks Black women face during childbirth. Still in awe of that intro, track two Sweet Boys Turned Sour begins, with Bashy rapping off rip, a blend of childhood nostalgia as the beat drops, over a lighter yet more upbeat production, as he vividly describes the various examples we can go astray, “I’m showing you how, good youts turn foul, soft kids turn shower, I’m telling you how, sweet kids turn sour”. It’s such a picturesque and shared view of inner city London, a great representation that all generations can relate to, as he sympathetically shows understanding of simply growing up and the vulnerability of innocence, prejudice and bullying, that can lead to knife-crime, rather viewing it as a weak decision and glorifying his inability to do so, reminiscing how fortunate for both that it didn’t happen, a much needed contrast within our art today and ultimately life. Only two tracks in and wow, but they were merely appetisers to the title track, sampling Dennis Brown’s Let Me Down Easy, providing a soft base upon which he weaves words of the harshness of reality, with more North West homage, depicting confidence and a form of success-guilt as a black man, drawing the lines between success and tragedy, “Could be a John Boyega or a Damilola”, such a powerful statement on such production says a lot about the thoughts and feelings he’s accumulated over these years that really help define the overall theme of the album.

Track 4, On The Rise, flips the sound, allowing him to flow distinctly over the abstract beat, with Bashy’s classic artistic approach to storytelling, including the beat switch, morphing it into a backpack rap feel, that should definitely translate well live. Much like Blessed, featuring WSTRN’s Haile and (the underground king) Skrapz, possibly the more popular single off the album, understandably with a broader appeal and the legendary MJ Cole – Crazy Love sample, it still stays in context without feeling repetitive. Followed by, Made In Britain, which starts with Bashy’s nan (bless her) delivering a beautiful prayer for her grandchildren, transitioning into this modern-reggae vibe, before the bass kicks in and things by my speakers started falling. As someone that heralds the ancestors and the struggles of those before us, this track is amazing, being fed up of the continuous prejudice, I relate to this song heavily, but from the hard work and struggles of his grandparents, to himself and Kano driving two Mercedes out the dealership, wishing his Grandad could have seen it, it’s these inspirational nuances sprinkled throughout the album that balance the theme. “Survival in our DNA, give a fuck about a VMA, stolen goods up in the V&A”. Bashy isn’t one to be vocal on socials, so to get his stance on things through these expressions adds to the project’s quality, giving the album such depth.

The concurrent foundation continues with How Black Men Lose Their Smile, the title alone omits so much power and emotion, as Bashy shares the systematic struggles that contribute to us losing our smiles, and ultimately our joy over the years, with stories of the men before him and relating to their struggle, detailing the many factors that hinder where help was needed. At this point the album has transitioned genre and feels like a theatre play, “System set up for me to fail, didn’t share features with my teachers, that has affects on your sense of self, that has effects on mental health”, this level of poetry and content cuts deep, I might have shed a tear on my first listen, pushing this beyond a song or music, as some of the realest emotions artistically expressed, that I don’t even think a review could validate. If I was to force a critique, it could be that it overshadows the remaining tracks, however, the activism that binds this album together is cemented with, Lost In Dreams featuring Roses Gabor, a definitive Bashy performance, portrayals of systematic oppression, further delving into police brutality and racism, paying homage to Mark Duggan and Stephen Lawrence. This notion is accentuated on the upbeat, Sticky, displaying the lows and highs as he reminisces on his journey thus far, expressing the early struggles to maintaining integrity through his current successes. With the album drawing to a close, as if he hasn’t poured enough, he delivers heavy on the introspective Earthstrong, sharing thoughts and regrets that most contain within, before closing the album out with Midnight In Balans, (flipping the Soul II Soul classic) he concludes the journey thus far with all the wisdom gained, from enjoying the fruits of his labour to dealing with losses, a personal touch to what has been an incredible offering of growth, aspirations and most of all, unapologetically black.

I didn’t get around to listening to the album well after he had won his MOBO award for it, I even noticed the American media personality Wallo praise it on socials, but nothing had me prepared for the audio masterpiece that was to follow. Is it Grime? is it Gospel? is it Rap? What I do know, that it is definitely one of the most monumental pieces of art to come out of England. Together with Toddla T, the two created a culturally authentic, stellar body of work, with an array of musicality that shows love to the sounds before and helps elevate the message.

Since it’s release, Bashy performed the album live in it’s entirety, truly emphasising the message, including a spoken word rendition of That’s How Black Men Lose Their Smile, which I feel justifies my sentiment and review of this album.

To release an album after 15 years, as an established actor, it clearly isn’t a money grab, there’s thought and intention in this project, all these experiences throughout the journey, playing these different characters, maybe his own story felt somewhat untold and that’s where the substance of this album is abundant.

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Dec 29 2025
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True Steppers – Buggin’/Out Of Your Mind ft. Dane Bowers & Victoria Beckham

In the year 2000, as art ventured into it’s futuristic ‘millennium’ era, our scene and sound was elevating, So Solid Crew were making waves underground, whilst in the mainstream the likes of Craig David and Shola Ama were breaking through. In the same month as Fill Me In and Imagine were released, UK Garage duo True Steppers released Buggin’, featuring vocalist Dane Bowers (of the pioneering British group Another Level). Now, I had both Another Level albums (might even review them at some point) and remember their run, with his distinct vocals and media-buzz raising his profile beyond the group, a solo effort seemed inevitable, however, this might not have been the effort expected from the soulful singer.

Whilst it was successful as a top 10 single, maybe it didn’t hit the streets the same way, but I’ve always thought it was a good track, to the point that I’m reviewing it 25 years later. The last thing most people would’ve heard from him was Another Level’s ballad, From The Heart (also featured in the Notting Hill soundtrack), a far contrast to this uptempo, bass heavy number, with it’s blend of soft strings, sharp effects and ambient chimes layered on solid drum kicks with the infectious bells, allowing him to display his songwriting ability, which was not only quirky and relatable, but also played into tabloid rumours. The video, though lowkey, features some subtle cameos from actors and musicians (seeing a member of Blue or Steps in the video is a novelty touch adding to that moment in time). With it’s early use of effects and autotune (years before T-Pain), balancing Dane’s natural tone, providing a different texture to an already well-crafted track.

It’s success was followed with the sequel released just a couple months later, featuring another solo debut, this time from none other than Posh Spice, Victoria Beckham

The addition of the former Spice Girl obviously boosted everything, from the visuals to the marketing, but it didn’t feel like a manufactured track. In pairing the two vocals, it feels natural, you can tell Victoria actually liked the song and that duality between the two helps propel it further beyond just another version of Buggin’. Dane has spoken on the creation of Buggin’ and wanting to pen a response from the women’s perspective, leading to Out Of Your Mind. In looking for a female vocalist to lead, when Victoria was suggested, it was the perfect match, her tenure as a musician and her superstar persona with the high profile marriage to David Beckham (she had been a similar tabloid favourite like Dane), so it meshed well creatively, and allowed her to step out of the criticism and flex her talent but also her star power. The track did well, coming 2nd in the charts to the absolute smash by Spiller – Groovejet (If This Ain’t Love) ft. Sophie Ellis-Bexter, which, with the likes of Artful Dodger and MJ Cole, not only helped amplified the sound further, but open the doors for similarly structured records to follow (like Sweet Female Attitude’s classic Flowers).

Around this time, as the shift with music piracy (causing the decline of sales) could be blamed for not capitalising on these singles with a Dane Bowers debut album, though Facing The Crowd (featuring production from legends like The Underdogs and Tricky Stewart) favoured his R&B/Soul sound, the label may not have felt it warranted the push (with even the more dance-centric tracks lacking that True Steppers spark), though it was eventually released 21 years later and sounds very much in that era, which is weird because though at the time Male R&B would fall behind to the more upbeat sounds emerging, his label-mate and clearly their priority act, Craig David, was very much leading the scene. None the less, Dane Bowers has been one of British R&B and pop’s early singer/songwriting stars, solidifying himself with the success of Another Level and proving doubters even more so as a solo act.

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Jul 21 2025
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Jus Rival – Optics & Design (The Evolving Mixtape)

East London’s Rival is one of the scene’s unsung heroes, long before Grime’s recent resurgence, even when artists ventured into Afrobeats and the Rap realm as the spotlight was no longer on London’s own genre, he continued to create and elevate the sound, with no real industry cosign it might have felt like it fell on deaf ears, but he’s responsible for one of my favourite modern Grime tracks with Shaolin Techniques (from his 2023 release, Revenge of The Rivz). Over ten years in the game, from his critically acclaimed Biscuit series to his culture-driven ELMNTRY show, he’s continued to add to the foundations and much like his weekly soundcloud drops, he returns with a new take, the evolving mixtape, Optics & Design.

In the current era of music, there aren’t as many rules and creatives can find themselves using their circumstances to their advantage, so rather than create one body of work and then attempt to find new ways to keep promoting it, he’s released Optics & Design, currently featuring five tracks, but could continue to add to it (hence the evolving mixtape). Kicking off with 2049, a futuristic sound contrasted with his homage and introspection, similar to the Blizzard produced Cold Harbour, it’s notable that often in Grime, the production carries the track, yet he’s approached it with his vocal as the lead, allowing for his lyricism and flow to dictate, highlighting his artistry, further evident with Bring N Kill.

Grime gets boxed into 140bmp, yet it seems he’s found the formula to maintain it’s essences on any tempo and style, ever present with the fourth track, Twilight, sampling the famous Twilight Zone theme, an unorthodox choice but very much in the spirit of Grime. For example, If JME had dropped this, the word genius would be thrown about and emcees across the country would attempt to tackle the production, and so in this case I have to commend Rival for this, whilst it might not be my favourite, I appreciate the direction and what it represents, bringing us to my actual favourite thus far, Premium English. Many may recognise the sample from the Benny The Butcher & J.Cole hit, but this is an authentically British take on the sample (credits to Blizzard), providing the perfect canvas for Rival to lyrically paint on and his experience shows as he effortlessly flows with his distinct style, that sounds like a traditional structured song yet feels like an old school radio set.

Optics & Design is another solid effort, an evolution of Grime, and a smart way to deliver music overall, that could potentially be adopted by many, as it bridges the gap between singles and a full length project. As the scene enters a new era, I hope he achieves the desired results, so stay tuned for more from the Grime wordsmith as he continues his journey, encompassing both the science of optics and the practical application of design principles.

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Jul 21 2025
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Skippa Da Flippa – Red Tag

As the label Quality Control music emerged out of Atlanta with a whole new sound and vibe, introducing the world to the likes of the Migos, Rich Da Kid and Lil Yachty, one of the pioneers of that era is none other than fellow artist Skippa Da Flippa, his choice of production and unique flow, laid the foundations for what they went on to achieve. Unfortunately, as the label focused more so on the meteoric rise of their other acts, Skippa didn’t see the mainstream success that his contribution deserved, however, after parting ways to forge his own Havin’ Entertainment, he’s carved an underground legacy and a core audience. Whilst QC went onto partner with powerhouses Capitol and later Mowtown records, continuing their streak with Lil’ Baby and City Girls, Skippa has pursued the independent grind, consistently dropping a host of projects including the fan favourite Up To Something, $H2 and the 2023 release Havin’ Motion Not Emotions. Last year he dropped a series of singles, kicking off with the ambient For Better Or Worse, continuing to display that original style, witty wordplay and sprinkle of substance, cutting through with tracks like Pay Me and a personal favourite Strategize,

a more introspective, spiritually strong, motivational anthem. Showing no signs of slowing down, he released even more singles, offering a broader range of his abilities, including the captivating Doormat,

leading up to this year’s latest release thus far, Red Tag

Red Tag is classic Flippa, his strong personality expressed through his distinct tone, it follows suit of his ability to effortlessly craft these catchy concepts. Though I initially was going to review Strategize, and was waiting for a full length project before doing so, as he re-establishes himself with these singles, I felt it made sense to focus not only on the more recent drop, but more so, him as an artist, highlighting his creativity and ingenuity, as the creator of the dab, he’s definitely contributed to the culture and as he maintains these quality efforts will undoubtedly reap the rewards, not just as an originator and individual, but a relevant musician, away from the gimmicks and payola praises. As many of his peers attempt catch their moment again through the safety of budgets and industry support, Skippa Da Flippa has inspirationally stood his ground, with his unreplicable ethos, persona and spiritual drive, you can expect more bangers on the way and hopefully a new album sooner than later. Either way, you can expect Flippa to be Havin’.

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Jun 11 2025
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Bri Bandz – Closer

Independent artist Bri Bandz has been making waves online with her blend of honest and feel good music, the Phoenix, Arizona beauty with a big personality has crafted a fanbase with her spirited efforts, turning Nick Cannon’s Love Don’t Cost A Thing dance into an iconic move, with a recent run of records, further cementing herself as one to watch.

Gaining traction late last year with Bandzway,

flowing cool over a neptunes-esque production, providing a modern take on a classic sound, with it’s simplicity, she’s able to display presence and charisma over the uptempo beat, a far contrast from the soulful Rises The Moon,

showcasing a sultry tone and underrated songwriting ability, highlighting her versatility as an artist. Bri kicked 2025 off with the hit Bengis,

sampling Babyface & Pharrell’s under-appreciated Stressed Out, creating another fun effort with her playful flow that rightfully gained traction, before releasing My Bad,

slower tempo but similar vibe, My Bad proved it wasn’t just the wavy beats but rather her own flair that makes her stand out. The best part is you’re getting to see an artist develop in real time, so the rawness only amplifies her charm and ability, evident with her next release, New Day.

You can already see the improvements in each track, ambitious and determined, it’s actually a spiritual effort, intertwining thoughts of fears, chance and faith. In an era where there’s so many acts making frivolous music, it’s refreshing to see someone starting out deliver substance. Able to attempt a variety of styles, she blessed her supporters with a cute freestyle,

followed up by her latest release, Closer.

Sampling the legendary Whitney Houston’s It’s Not Right But It’s Okay, she glides over the upbeat banger with a mix of styles, harmonising the chorus, with her soft tone complimenting the skippy production, naturally transitioning into a pacey flow with some finesse. Closer is a more composed effort and brings her closer to putting together an official project. Still developing her artistry, the former hooper finds herself in a great space and on course for success, heading in the right direction, doing it the Bandz way.

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Jun 10 2025
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Scorcher x Smila – 9:17PM

North London’s Scorcher is on a Balon D’or run of recent, back to the basics with a heap of verses and features, not only returning to the forefront, receiving the well deserved Mobo Award and recently performing Can’t Touch This with British pop legend Robbie Williams, but shining the spotlight on the real local talents, reigniting that authentic feel that’s been missing in the game for a minute. This time connecting with Smila for the impromptu 9:17PM

It’s been no secret of Scorcher’s abilities as an MC, however each time you hear him, levels are being raised, with this verse serving yet another example of that. When he flows like this it’s reminiscent of ’06 Thierry Henry, unstoppable. An effortless balance of skill, presence and most of all bringing the fun back, creating real music for real people. Linking up with Smila, who takes the opportunity to deliver an equally credible verse whilst taking on directorial duties, putting together this complete vibe of a production, from the opening title, sequencing, humorous text overlays and the one take transition he’s been known for, crafting a real and raw execution, complimentary of the overall feel, one that North London can be proud of.

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Jun 10 2025
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Clue – Tenacious

South London’s Clue has close to two decades in the game (since his street classic Get Away featuring legendary So Solid crew’s Mega Man), with a host of projects and features, through the industry’s transition and Grime’s spotlight, he’s been one of the notables of UK’s street Rap foundations. So as the genre continues to dominate, it’s only right for the tenacious talent to return with an aptly titled new album.

Tenacious is a concise project, consisting of 8 tracks (highlighting his integrity as an artist), starting with the Intro,

setting the scene of his trials and determination, “live everyday as it comes, never give in or stop”, a concurrent theme of the album. No Disrespect, with K Koke on the hook, doubles down on the notion, it’s less glorification of gangsterism and more portrayal of the morals as a man. Clue could always rap, however, only two songs in and there’s a clear improvement, from lyricism to the delivery, accentuated by the quality mix. With Young Soul at the helm of production on this project, they switch things up on Rap or Drill (a double entendre if you like), featuring man of the moment Scorcher, both comfortable in their element with a grown take on a modern sound. Continued on Motion, the lighter of tracks, before the retrospective Outside, linking up with Manchester’s Ross The Boss (If you know, you know), with the two detailing their perspectives and lessons learned through a harsh lens of consequences and maintaining. A lot of street-centric music today tends to be fabricated or glamorised, so to get a view from some of the most authentic really offers the duality, the ups and the downs, further emphasised with P&A featuring another UK Rap staple, Joe Black, with the two offering a darker view of staying afloat amidst repercussions and the correctional system. Southside featuring up and comer Tee Tenny,

adds to the motivational elements of the album, a mix of desire and hardships, “I was broke, but I never broke down”, as he looks back how far he’s come, followed by the final and possibly the realest song, Myla,

an ode to his daughter. A heartfelt letter to his greatest achievement, complimented further by the road travelled (and the tracks leading up to this), sharing the lessons learnt and passing his wisdom, more valuable than any material, displaying a greater level of vulnerability and strength, as an artist yet first and foremost as the man he is today.

Tenacious is a quality and evident effort created out of the love for the art, built upon a base of street life and real stories, holding up principles and inspiration for those in need, an aspect I appreciate most from this album. A great re-introduction for the South London veteran to build upon (with a range of previous projects for new fans to catch up to), defining a new direction to develop on.

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Jun 09 2025
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Youngs Teflon – Keep The Change

Youngs Teflon has been one of UK Rap’s most underrated, breaking through amidst the early Grime era, having since made a name for himself, he’s played a part in the emergence of some of our more notable acts of recent, with his versatile street style, storytelling and topical wordplay. If Giggs is considered the King of UK rap, Tef could be seen as the prince and with a prolific discography, this latest album could be seen as the coronation with this Atlantic Records UK debut, Keep The Change.

As acts like Nines and Potter Payper establish their lane of commercial street-centric rap, it’s only right for Youngs Teflon to be amongst those names and with this new Atlantic Records UK venture, he’s in position to do just that.

This album feels monumental, it’s 14 tracks of realness, setting things off with Crouching Tiger, an introductory to the overall theme of this album, poignant wordplay, weaving his experiences of street life and success as an artist, broken down further on Da Gutter,

a lyrically descriptive South London state of mind over the hypnotic loop. The story continues further with Motion, a more polished version of his upbeat sound, adding that major feel with a feature from Manchester’s Aitch. The level of quality is accentuated with the next track, Brownin’,

one of the singles from the album, with it’s Aaliyah sample and his take on a classic metaphor, offering a diverse feel as it can be appreciated by a variety of audiences, especially with him harmonising, using that Aaliyah flow, which caught me by surprise upon the first listen and provides a singalong vibe, highlighting his evolution as an artist. Another standout is the filmesque Tony’s Tub, featuring one of the current talents, Knucks, which before I even saw the title had remnants of Scarface, further established by the opening line, “The blimp told me the World Is Yours”, as the two trade verses of grandeur over the emphatic production. Favourite Poison, the more confidently vulnerable effort, providing some variety, as the theme continues with the contrasting Cologne featuring newcomer Clavish and Ain’t Right (ft. Blaqbonez),

before the introspective and mature songs Need You and Wrong Ones. As we draw closer to the end of the album, Tef gets into his Nas bag with a personal favourite, showcasing his storytelling abilities with the cinematic Unusual Suspects, a motion picture of a track, that would benefit a short movie (upon every listen I’m thinking of location, shots and casting). “Product of my environment, I grew up when they were firing, School next day but I got woke up by the sirens”, he shares a great detailing of a gritty London life on the next track, Product of My Environment, finding light amidst tribulations and systematic disadvantages, followed by the beautiful sounding Members Only, an introspective effort complimented with the unique tone of Frank Ekwa on the chorus, which brings us to the curtain closer, Sicily, a podium finish of a record, neatly concluding the theme, appreciating the fruits of his labour and the journey to it.

Having delivered an array of projects spanning generations, this album is a well crafted offering from one of South London’s finest wordsmiths that will satisfy old fans and serves as a great introduction to new ones, highlighting different sides of the come-up, accepting the highs and lows, lessons learned and wisdom gained, that not only can you can charge to the game, but let it Keep The Change.

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Jun 07 2025
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Joy Crookes – Carmen

As the women continue to lead R&B/Soul to prominence, one of the most underrated of those is none other than Joy Crookes. The South London songstress has consistently delivered with her unique vocals, honest lyricism and vast musicality. It’s a couple years since her last release and with her second album Juniper due 26th September, she feeds fans with this EP, Carmen.

Carmen serves as a bitesize offering of four tracks, with longtime collaborator Blue May, that encapsulate her diverse range of artistry. Leading with the title track,

a modern take on a classic sound, as she poetically explores beauty standards and confidence, the crisp production provides the perfect bed for her captivating vocals, you can see why she has drawn comparisons to the late great Amy Winehouse. I Know You’d Kill, a song about trust which she wrote for her manager,

raises the tempo, on which effortlessly glides. It’s so rare to find current creations that can embody such nostalgic instrumentation whilst possessing these original and current day nuances. Much like the next track, Mathematics featuring legendary Grime MC Kano.

It’s such an unorthodox pairing that seamlessly matches their contrasting styles, with her emotive and vulnerable display complimented by Kano’s tone and delivery, which is refreshing to hear, similar to the last track, the bass-heavy, Pass The Salt featuring Vince Staples,

emphasised with her vocals minutely distorted, blending her sultry sound over a beautifully chaotic production, allowing the Long Beach rapper to flow naturally with one of his standout features. If this is anything to go by, you can expect her 26th September release Juniper to be another quality offering of sexy vocals and high-end production, filled with emotion, experimentation and most of all originality.

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Jun 07 2025
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Lethal Bizzle – Can’t Touch This ft. Wiley & Scorcher

As the new era of Grime continues to grow, favoured by the return of it’s legends, another heavyweight staple returns to lead it back to the top, with More Fire Crew’s founding member Lethal Bizzle emerging with a new original in the form of Can’t Touch This.

Bizzle has carved his own lane since his early Grime dominance, securing chart success with a series of uptempo feel-good anthems and whilst he could have just continued that streak as a solo artist, he recruits the current captain Scorcher and the living legend Wiley for what can only be described as a banger. Can’t Touch This, produced by Felix Dubs, with it’s blend of musicality, piercing synth and heavy-slapping drums, allows Bizzle to reinvigorate the genre, “Original sound, can’t touch this”. As a lot of Grime’s current resurgence depends on nostalgic rhythms, this is exactly the elevation the sound needed. Wiley had faced some tribulations for his honesty and shedding light on the ill-practices of the system and while it may have felt like the game turned it’s back on him, the real continued to hold him in the rightful high regard, and as the genre re-enters the spotlight, his appearance makes it official and he effortlessly returns like he hasn’t missed a beat, with his verse painting the foundations of Grime, highlighting it’s essence and being able to deliver in it’s present iteration, “timeless flows, can’t touch this”, setting the tone for Bizzle to match that energy and remind us of why he was able to breakthrough the way he did. Whilst there are many factors for this new stage of Grime, from DJs, producers and a variety of artists that had not ventured from the sound, however, one of the real reasons for this recent impact is none other than Scorcher and so his feature on this is just mandatory, especially if you know of his origins of clashing and legendary radio sets. Grime consists of elements and together Wiley brings the sound, Bizzle adds the energy and Scorcher provides that street component. A perfect mix of why we fell in love with the genre and even greater example of the growth and direction it’s leading to, plus another great step in it’s evolution. The visuals help portray it further with it’s studio setting and appearances from a variety of the scene’s original members.

More recently, as people online engage with their own verses, I randomly come across none other than Take That’s Robbie Williams flowing, which still baffles me because I never knew he was a barrers like that, he could’ve easily been on this or an official remix even.

This collaboration cements the genre’s reemergence and will undoubtedly revive that live show energy, whilst serving as a sign of more to come.

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