UK Rap Needs Fixing.

A new discourse has hit the timeline.

Last week (Oct. 18), Skepta took to Twitter to share some thoughts on the UK music scene, specifically the rap scene. In a series of posts, he called the scene “sad” and the “smallest, most segregated, label-run, crabs in a barrel scene of all scenes.” In a later post, he added, “I’ve tried to collab with everyone whether they’re ‘up and coming’ or not, but if everybody just wants to get signed and segregated, then what’s the point?”

After chiding the scene for being bogged down in “self hate”, Skep did offer a couple of explanations. “Maybe because I’m from a nurtured scene, pirate radio, magazines, raves, shoots etc,” he said. “I’m really feeling the void now,” before wondering if it was because the scene was no longer “organic.” The grime and rap legend didn’t seem to be referring to anyone in particular, but his posts clearly struck a nerve. The conversation continued through much of the weekend, some of it constructive, but not all. While a lot of it was just him having a moan, some of Skepta’s points stand tall, and it begs the question: what is it going to take to course correct and get UK rap back to where it needs to be?

Our music team sat down to come up with a few suggestions, or lacking elements, that could help get us back on track. Dive in below.

Back To Basics: Ground Zero

It’s time for the UK rap scene at large to retreat underground, and reignite the flame of hunger and grit that burned brightly in our favourites while on their rise. Grime has been in this position a number of times, but today finds itself in a place of comfort in knowing that the foundations were set underground for a reason, and that tapping into its essence is a re-energising force. For the past two years, UK rap has seen monumental success in the likes of Central Cee, Dave and Little Simz, but it’s also seen a gradual decline in interest more generally, with sales taking a major hit across the board. It could well be that we’re back in the pop/indie cycle again, or it could be that fans have grown tired from the shiny-rap chart attempts and samey rollout that even Nines clocked in himself recently and decided to retire from the game. It’s that sense of accountability that we need more of right now, instead of covering it up with for-the-sake-of-it parties and celebrations that we can all see through. Alternative British rap acts like Len, Fimiguerrero, Lancey Foux and Bawo have been building a sustainable ecosystem underground for a few years now, with many of them selling out shows in the tens of thousands. How did they do it? Well, by staying true to- and safeguarding- their sound; by sharpening their skills via communal rhyming; by catering to the close-knit community of supporters that back their every move. The wider rap scene lacks a lot of this currently, and could definitely learn a thing or two; add to that a return of on-the-block freestyles, cyphers, and a concerted focus on tapped-in supporters over sporadic consumers, and we might just get somewhere. —Joseph ‘JP’ Patterson

Guard The Culture From Vultures

I have yet to come across a YouTuber/social media star with any genuine music talent—genuine, as in, it’s innately in them as opposed to forcing it out as a new side hustle/stream of income that they do. not. need. Love Island’s Tyrique Hyde is now a rapper, and he runs in similar circles, but he actually has a bit of lyrical style and flow about him—nowhere near the level he needs to be at to hang with the dons of the scene, but he has something to work with. KSI, on the other hand, is a different ball game. I will always give props to my fellow Black brothers when it comes to getting to the bag and building empires, but KSI should have never touched music and just remained as a Sideman on YouTube. While absolutely no one in the scene counts him as a true rap artist, he is taking up space for true rap talent to shine. His millions of fans that he’s accumulated over the years support everything he does: his boxing career, his Prime energy drink, and now his music. But therein lies the problem: they are fans of him and support everything he does—whether the product is trash or not. Atlantic likely signed KSI for millions of pounds, but that money could have been used to sign and support a plethora of other artists, whose music is taken seriously; artists who don’t need to use fake-sad campaigns to attract listeners, like he did recently and hit the Top 10. Youngs Teflon, the South London rap icon, is set to release a project through Atlantic next year, and I hope that they give him as much of a push as they do with KSI and others who continue to look past the highkey importance of creating sonically-pleasing music, and a want and need to better their craft. —JP

Take More Musical Risks

Now, when I say take more risks, there’s nuances to this. I’m not speaking to the underground—whether it’s alternative rap, trap, or whatever new sound is cooking—where experimentation comes part and parcel; I can always rest assured that this corner of the scene is thriving. But you probably can’t say the same for the mainstream right now. This field feels stale to many, and artists more often don’t want to stray too far from a winning formula that is lining their pockets. Which is fair, but this is partly why people used to scream that grime was dead, and that drill is dead: the same, repetitive formula, leaving little room for new elements. Artists should start to look beyond what’s worked before and take their music up a notch, whether that means working with artists you’d never imagine them with, or producers who can challenge them with a new beat. They shouldn’t do it for the sake of it, but think about how fresh their music would be in a new context, where they can be challenged to tap into different aspects of their artistry. An artist like Unknown T collaborating with Loyle Carner earlier this year should be commonplace. Yes, they’re in different lanes, but these are two beacons of the scene who decided that didn’t matter, and the music was the top priority. Why doesn’t Digga D do a song with, for example, Len? Or Headie One link up with The Alchemist on a joint project? Is it a pipe dream? Maybe. But moves like this only serve to expand the art, zoning out of the sonic silos artists tend to find themselves in, to test themselves in new territory. It’ll only help them, and ultimately the scene, in the long-run. —Yemi Abiade

Look Beyond Short-Term Gain

It’s no secret that there has been a decline in sales in UK rap compared to just a few years ago, when artists made significant contributions to the charts and British music market. This initial success was a blessing, but it also led to complacency among artists, their teams and labels. Labels developed a formula that they overused, and it has since been abused. The focus on creating algorithm-friendly music—driven by the rise of streaming platforms—has led to a generic sound, with quantity over quality contrasting sharply with traditional artist development strategies that focus on building a unique sound and identity over time. Teams lost sight of the true essence of cultivating genuine artistry, opting instead for short-term gains. These often revolve around viral success on platforms like TikTok, securing lucrative deals, or landing brand partnerships. In pursuing these short-term gains, the crucial tasks of building a loyal fanbase and creating lasting value are neglected. As a result, some artists struggle to sell out shows or maintain momentum once the initial hype fades. This complacency is evident in the over-reliance on short-lived digital trends, often at the expense of long-term career development. Tactics like merch bundles, pop-up and stream manipulation are common, but these don’t necessarily reflect the actual popularity or quality of the music. Billboard, for example, changed its rules in 2020 to minimise the impact of merch bundles on chart positions after the likes of Travis Scott and Kanye West used said tactics to boost album sales. UK charts stopped independent pop-ups this year. With all this in mind, it is now imperative that rappers, their teams and the labels reevaluate the mission. If it's always been to make bank, then that will come out in the wash. But if it was to create solid bodies of work to be proud of in years to come, then nothing should come in the way of that. The clock is ticking!
—Mimi The Music Blogger

The Consistency & Flow Of Music

One element that’s become a little troubling lately is quality control. Yes, the ceaseless appetite of the algorithm insists artists must churn out music at an exhausting rate, but honestly, forget that. Whether it’s the algorithm or a general complacency, we have had a little trouble with consistency of late. J Hus’ Beautiful And Brutal Yard should have been the comeback record of the century, but with the exception of a brief flutter around “Who Told You” and maybe “Militerian”, the album sank without trace. A poor rollout, weak Wireless performance and a cancelled tour, all fans had to go off was the music, and it simply wasn’t enough—even with high-profile features from Drake, Jorja and Burna Boy. All is not lost, though: earlier this year, Bashy showed us exactly what can be done with Being Poor Is Expensive, a masterclass guide to making a great album. Forget the glitz and the viral moments: come up with a strong concept that actually means something to you, plan your album from beginning to end, and stick to the landing. He only had two features on there—singers Roses Gabor and Haile—and they were only on there because they made sense, not because they were trending or anything else. A good idea well-executed will always beat the empty, shiny thing. —James Keith