The ground is thawing and summer is finally coming. For Australian music industry, that only means one thing: festival lineups and summer tours are being announced by the bucketload. We’re especially excited to see a small but exciting list of hip-hop artists coming down under for festival appearances and headline tours, and to make life easier for you, we’ve placed them all in one big convenient list.
We’ll update this as the announcements keep rolling out. For now, here are our picks for a summer of hip-hop via festivals and live music.
Falls Festival
Our picks: Run The Jewels, D.R.A.M., Vince Staples
Run The Jewels haven’t visited Australia since Falls Festival 2014-2015, and though Vince Staples visited twice last year, he’s since released a whole new album, Big Fish Theory. D.R.A.M., meanwhile, cancelled his Groovin The Moo appearance earlier this year, so we’re hoping he makes his debut Australian appearance for New Years Eve.
Dates
28 Dec – 31 Dec: Lorne, VIC
29 Dec – 31 Dec: Marion Bay, TAS (All Ages)
31 Dec – Jan 2: Byron Bay, NSW
6 Jan – 7 Jan, Fremantle, WA
Beyond The Valley
Our picks: ScHoolboy Q, Stormzy, Sampa The Great
One of Victoria’s favourite newer festivals has had a hip-hop-loving presence across each of its three years so far, and this year is no different. Both ScHoolboy Q and Stormzy just chewed up and spat out Splendour in the Grass, and will be visiting again in just a few months’ time. ScHoolboy’s last album, Blank Face, was one of our favourite records of 2016, while Stormzy claimed the grime throne with this year’s Gang Signs & Prayer. Joining these will be our favourite local artist Sampa The Great, who always delivers one hell of a show.
Dates
Dec 28 – Jan 1: Lardner Park, Vic
Meredith Music Festival
Our picks: Noname
The eclectic Meredith Music Festival lineup isn’t particularly hip-hop heavy, but it does include the incredibly talented, soulful artist Noname, who will be visiting Australia for the very first time. Originally emerging as Noname Gypsy, the Chicago singer was largely noted for her association with Chance the Rapper, namely for her guest verse on the Acid Rap track Lost.
Since then she’s well and truly made a name for herself, releasing one of last year’s best albums, Telefone, and establishing herself as a beacon of honey in a world
Dates
Dec 8 – 10: Meredith Supernatural Amphitheatre, VIC
Laneway Festival
Our picks: Anderson Paak
The Laneway lineup hasn’t even been fully announced yet (we’ll update this when it is), but it’s already whet our whistles with the news that the amazing Anderson Paak will be on our shores once more in January and February 2018. The Malibu artist last toured for Listen Out 2016.
The Laneway lineup does traditionally feature a slew of great hip-hop acts, and we’re expecting a few more to join in – my guesses include Tyler, The Creator, if he’s actually allowed into the country this time, The Internet, Aminé (that’s just wishful thinking) and Frank Ocean (okay now I’m just fantasising, this guess has literally zero basis in fact).
Dates
Mon 29 Jan: Auckland
Fri 2 Feb: Adelaide
Sat 3 Feb: Melbourne
Sun 4 Feb: Sydney
Sat 10 Feb: Brisbane
Sun 11 Feb: Fremantle
Migos
6lack
LVRN upcomer 6lack (pronounced “black” ) will be supporting Migos at their shows, but he’s also making his debut headline appearances, and well worth a mention on his own. His debut album Free 6lack was a dark, smooth display of things to come, spawning huge singles Ex Calling and PRBLMS. There’s something about 6lack that really sets him apart from many of his contemporaries, and we have high hopes for his headline sets.
Dates
Wed 11 Oct: Metro Theatre, Sydney
Mon 16 Oct: 170 Russell, Melbourne
Khalid
Crooning R&B upstart Khalid has already had a killer 2017, delivering one of the year’s smoothest debuts with the amazingly earwormy American Teen. Following sellout tours in the USA and Europe, he’s just announced his debut shows in Australia, and it looks like fans can’t get enough – he’s already upgraded and sold out almost every show, so get in quick if you’re planning to catch the magic in action.
Dates
Tues Nov 7: Hordern Pavilion, Sydney (Sold out)
Wed Nov 8: Hordern Pavilion, Sydney
Thurs Nov 9: Festival Hall, Melbourne
Fri Nov 10: Eatons Hill Outdoor Stage, Brisbane
The Weeknd
Abel Tesfaye himself is finally, finally bringing his mammoth tour down under for the very first time. The ludicrously successful Canadian singer, who tiptoes the line between pop and R&B with more Max Martin-produced finesse than a Cirque du Soleil performer, is coming in hot with a full round of arena shows this November.
Joining Tesfaye will be French Montana and Nav, whose recent album with Metro Boomin was one of the shittiest records of 2017 so far, but hey, maybe his live show will be more fun. ¯\_(ツ)_/¯
Dates
Wed Nov 29: Spark Arena, Auckland
Sat Dec 2: Qudos Bank Arena, Sydney
Sun Dec 3: Qudos Bank Arena, Sydney
Wed Dec 6: Brisbane Entertainment Centre, Brisbane
Fri Dec 8: Rod Laver Arena, Melbourne
Sat Dec 9: Rod Laver Arena, Melbourne
Mon Dec 11: Adelaide Entertainment Centre, Adelaide
Thurs Dec 14: Perth Arena, Perth
GZA
Wu-Tang Clan’s brilliant GZA is returning to Australia once more for a solo tour, having last visited with (most of) the full Clan in 2016. His last solo tour was way back in 2012 (I was there and can personally guarantee this is not a show you’ll wanna miss), so this is set to be pretty damn exciting, especially given how small the venues are. It’s not often you get to see a living legend in such intimate settings.
Dates
Sat 11 Nov: The Studio, Auckland
Sun 12 Nov: San Fran, Wellington
Wed 15 Nov: Fowlers Live, Adelaide
Thurs 16 Nov: Woolly Mammoth, Brisbane
Fri 17 Nov: Manning Bar, Syd
Sat 18 Nov: Max Watt’s, Melbourne
Sat Nov 19: Rosemount Hotel, Perth
Grime artist Stormzy first became publicly known through a set of videos on his YouTube channel. Shot in the dreary carparks and street corners of South London, the rapper freestyled over instrumentals with a small crew in the background. The verses were animated, cheeky, playful; but most importantly he had a lyricism and flow to back it up. Of this series, one stood out beyond belief, with 2015 freestyle Shut Up sending Stormzy on the fast track to fame. In the clip, Stormzy effortlessly glides over the bars of XTC’s classic beat Functions on the Low as he plays off his squad in the background.
The video has since racked up almost 48 million views, and has seen the artist win a second MOBO award, nominated for best British Breakthrough act at this year’s BRIT awards, and a plethora of festival dates including Coachella (and an Aussie tour last year, which was cancelled at the eleventh hour). All without having even released an album.
https://www.youtube.com/watch?v=RqQGUJK7Na4
It would be fair to say, then, that Gang Signs & Prayer – Stormzy’s debut album – has been somewhat hotly anticipated.
If you go into this album expecting the sort of material you’ve heard on his YouTube channel, however, you’re going to be disappointed. Instead, Stormzy gives us a bit of everything in Gang Signs & Prayer, with the album living up to its title: street culture and reflection in equal measure.
The album is not without its customary bangers. Cold features icy synths, and drums pinging around the mix; Big For Your Boots – dropped prior to the album’s release – contains the heavyweight low-end from celebrated producer Sir Spyro. Both see Stormzy bouncing off the walls with rhymes both cleverly irreverent and revealing.
https://www.youtube.com/watch?v=dFOErVWlsxg
Banger though they are, grimy they are not. The pair have an overproduced, over-polished sheen which takes away from the wild, cheeky grit we’re accustomed to. It’s a shame, as much of his charisma lies between those lines. Similarly, the lower tempo songs interspersed may be more reflective in mood, yet they maintain a cookie-cutter feel throughout.
In Blinded By Your Grace (Parts 1 & 2), Stormzy tries his hand at singing, while touching on how important his faith is. The track follows on from one of 2016’s biggest trends of blending gospel and more vocals into hip-hop, a la Kanye West, Anderson Paak and Chance the Rapper.
Similarly, the production in Velvet is reminiscent of Noah Shebib’s – with chattering pitched-up vocals and machine gun hi-hats. Stormzy plays Drake, in his feelings and trying his best to impress a lady with his loyalty and riches. Cigarettes & Cush, though sounding as if it was written for Ariana Grande and Big Sean, fits Stormzy and Kehlani well as they tell the story of a dysfunctional, drug-focussed relationship.
The inclusion of both club tracks and introspective ballads has a somewhat adverse effect on the pacing of the album. The triumphant ending of Blinded By Your Grace (part 2) is rudely interrupted with the snarling synth horns in Return of the Rucksack. Strap back in. At times, it feels as though Stormzy has opted for sheer stylistic breadth over equilibrium.
There are, however, beautiful moments of balance. The final tracks all have a heart-on-sleeve quality that really paint a portrait of the young South Londoner: 100 Bags is a touching ode to Stormzy’s mother who brought him and his siblings up after being abandoned by his father, a London cabbie; in Don’t Cry For Me, the rapper reflects on his his fame and the resultant alienation he feels with the hood he grew up in; the final track – Lay Me Bare – contains a brutal verse which “lays bare” his feelings toward his father: “23 years and you’re still the same/hope you hear this and feel ashamed”
While the subject matter is certainly overdone in hip-hop, it nevertheless feels genuine on the 23-year-old’s debut.
The crux of the album comes in a short interlude – a recorded phone conversation with old school grime legend Crazy Titch, who says Stormzy will turn the genre from “second rate…to first rate”. The interlude acts as a baton-pass between the old and new generation of grime – an act that might restore what has become a confused genre. As Titch says: “We don’t really even know what grime is but we know who Stormzy is.”
Grime is in a different place than the days of classic Lord of the Mics and Dizzee Rascal’s Mercury-winning Boy in da Corner – the genre currently lives both a mainstream and underground existence. The old school moved the scene from Jammer’s mum’s basement to onstage with Kanye at the BRITS; while the earlier school placed grime on the map, it’s up to Stormzy’s generation to keep it relevant.
In a poetic move, the interlude is followed by Shut Up; grime’s new golden boy spitting over a true first generation instrumental. Old meets new.
Gang Signs doesn’t sound particularly like a classic grime album (look to Wiley’s recently album Godfather for reference), but it represents a diversification of a product. Some tracks may sound derivative, but there’s a heart in the right place. This debut album feels like like Stormzy is trying to see where he can take the genre, where it fits, all the while insisting not to be put in a box.
Words by Jamie Pettinger
Friday mornings always provide an interesting talking point in Australia when artists grace the Triple J studios for Like A Version, but sometimes the Brits just take things to another level.
UK grime master and Listen Out Festival no-show Stormzy was always going to put on a great show for listeners and viewers, and when you get one of the best rappers around taking on one of the biggest songs from the genre ever, the angelic Ultralight Beam by the little-known team of Kanye West and Chance The Rapper, the result is always going to be memorable.
Opening with a light shower of piano and cymbals, the rapper added fresh flavour to the song with a new verse of his own, while his sizeable house band, including three backing singers, lay the scene with beautiful atmospherics and a really engaging new take on the Life of Pablo standout. Watch the full performance below.
https://www.youtube.com/watch?v=eCqLR5svy9Y
The rapper’s appearance on BBC was the perfect taster for what is set to be a big year ahead for the rapper. Just 2 weeks ago mysterious billboards began to appear all over London with his lyrics “Ain’t dropped nothing for a minute. I’m fine” amongst others, all accompanied by the signature hashtag #MERKY, as well as #GSAP and 24:02, no doubt referring to February 24th. It’s since been revealed that the MC will be releasing his new record Gang Signs and Prayer at the end of next week, and we couldn’t be more excited.
With all signs pointing to a forthcoming tour off the back of the record, we’re all crossing our fingers for a rescheduled Australian tour in the near future. Until then, at least we have some new, crisp live recordings to indulge in.
https://www.youtube.com/watch?v=G6uBpFWt65c
Image: Pigeons & Planes
UK grime superstar Stormzy has today released the track listing for is much anticipated debut album GSAP. After a number of huge billboards cryptically sporting lyrics from the album with the hastag #Merky appeared around London last week, Stormzy has taken to Twitter to confirm the track listing and release date of GSAP.
#GSAP 24th February 2017 🌎 pic.twitter.com/fBPeFxjbxr
— #MERKY (@Stormzy1) February 1, 2017
Set to drop Friday February 24, GSAP contains 16 tracks and a number of high profile guest features, with Kehlani and Raleigh Ritchie leading the charge. Other artists making their presence felt include MNEK, Wretch, J Hus and Ghetts.
Although he’s yet to release an official single, Stormzy did preview the track Cold on Twitter last September. The 45-second clip shows the Londoner performing the Swifta Beata produced single in Gothenburg, Sweden, with the crowd well and truely turning up. GSAP also includes viral hit, Shut Up, the song that helped launch Stormzy’s career into the mainstream.
As both a grime and Stormzy fan, I’m really excited to hear if the Londoner can build on the success of the past 18 months. Having featured on tracks from Giggs, P Money, Little Simz and Tinie Tempha and won The Times Breakthrough Award and AIM Independent Music Awards Innovator Award, my hopes are high Stormzy can deliver an album that furthers the grime culture while simultaneously crossing over, similar to Skepta’s Konnichiwa.
[youtube https://www.youtube.com/watch?v=RqQGUJK7Na4]
Image: Capital XTRA
It’s been an extremely quiet five months for London’s buzzing grime artist Stormzy. Since taking part on the Brotherhood soundtrack in August, he’s been almost entirely AWOL, with almost all of his social media platforms bar Facebook disappearing and not to mention the frustrating cancellation of his 2016 tour dates (including Australian Listen Out dates). It’s no lie we’ve been on the edge of our seats since Scary announced the album was on the horizon, but it’s not until now that we have some (almost) concrete information.
There has been no official announcement, but suddenly appearing all over London have been billboards which feature Big Stormz’s lyrics , “Ain’t dropped nothing for a minute. I’m fine” and “You’re getting way too big for your boots” to name a few, accompanied with his signature hashtag #MERKY, along with the date February 24th and #GSAP. Could this be the title and release date of his heavily anticipated debut album?
The album is rumoured to be produced by Wretch 32 collaborators Messers Mo and Mikey Samuels, and talking to Clash Stormzy explained this will be the return of his true self rather than his grime persona, “I’m using Michael not Stormzy, because I feel like I need to get back to who I am. There’s been glimpses of people seeing who I am but I’m talking on a musical level. You’re getting the freestyles, you’re getting the records here and there, but you’re not getting who Stormzy is. I want you to understand who I am, what I love, what I hate, what I treasure, what has stunted my growth, helped my growth. I want everything to be in this record.”
He went on to explain that the debut will feature collaborations with singers seeing as “there’s some bits I can’t do myself. I want people to feel that sense of bereavement or pain or mourning from my record.” This means it will likely feature thirteen-year-old viral star Deno Driz who Stormzy brought into the studio last year.
Details are sure to be revealed in the coming month, so keep your eyes peeled for what can only be good news.
https://www.youtube.com/watch?v=C7xA8Hzuyac
Image: Soccer Bible
Born in the bedrooms of British estates, Grime is one of the most vibrant and powerful cultures, capturing the ideals of London’s youth with the world left in awe. Where 80s New York had hip-hop to represent them, the portrayal of life in their city, early 2000 London remained in a limbo in-between the shadow of the punk takeover and the UK dance sounds which emerged.
The answer wasn’t flashy, it was gritty and rough; grimy, even, a reflection of real life. Blending home-grown sounds of garage and jungle, it was illegal pirate radio stations based in kitchens which inevitably cultivated a booming culture. London’s answer to hip-hop, it gave a voice to the voiceless within the fast paced, digital world of 21st century Britain.
From the streets to the award show stage, there’s definitely been a huge change in the past few years alone. A major turning point was when pioneer Dizzee Rascal was awarded the coveted Mercury Music Price back in the year 2003, but it’s taken another 13 years for grime to be once again be praised at the award show.
In the past two years alone grime has grown from essentially a small group of friends to a global phenomena. Just this month, North London’s Skepta took home the coveted Mercury Prize, beating David Bowie and Radiohead with his album Konnichiwa. But what actually sparked the grime explosion? Why has it taken 16 years to reach the worldwide spotlight and why now?
If we look back to the early 2000s, we find early pioneers like Dizzee Rascal, Kano, Wiley, D Double E. There was a point where many reached out to American sounds, compromising their unique identity to adopt a more traditional hip-hop voice. The result was the mainstream Dance Wiv Me rapping Dizzee, the Wearing My Rolex Wiley, and even the Amnesia Skepta. It didn’t stand out because, well, it didn’t stand out. It didn’t feel original and it lacked a key theme for these artists, integrity.
https://www.youtube.com/watch?v=PnEZmk7as9Y
“I’ve been keeping my ear to the streets, The UK run out of ideas, Everybody doing covers of American beats,” Skepta acknowledged in his single Ace Hood Flow the following year, a theme which many seemed to suddenly pick up on and acknowledge in the scene. In response, artists’ decided to journey back to the original sounds, the vibes that they had begun with, a change which resulted in Skepta’s first global grime breakout That’s Not Me, capitalising on the original ‘eskimo’ sounds.
From here many more followed, including another leader of the grime trend Stormzy, who found his break with a freestyle over the Functions On The Low instrumental, a tune originally released back in 2004. These days it comes easier, with new artists Santan Dave and AJ Tracey blowing up with their single Thiago Silva, a booming remix of the 2003 Pied Piper instrumental.
The decision to return to the genre’s roots and build upon their past rather than jump on a foreign sound cultivated something truly original and important, something that authentic and entirely British. During a time when mainstream rap was stretching out in countless directions thanks to a growing boredom among listeners, grime endeavoured.
Now, as listeners and outsiders to the culture, we’re standing at a real turning point. Beyoncé is dancing to Skepta onstage, Drake is a part of Boy Better Know. It’s not even close to the underground anymore.
So what does that mean for the future? Already the term grime is becoming broader and broader, reaching out to different sounds and vibes, but staying unexplainably grimey. It’s hard to predict what such a new form of expression will do next, but already we are seeing this trend of nostalgia, and the legendary Jammer agrees, “You’re always gonna get people recreating what’s been done before if it was great,” the BBK member and Lord of The Mics founder explained, “Moving forward, someone’s gonna come along and add their thing which is new, mix it with something old, and that’s fusion, out of a magical thing something else is gonna come.”
The one problem with a genre that champions such specific sounds and rhythms is that it has its limits, it’s boundaries. That said, there’s marked diversity with many artists, be it Novelist‘s experimental beats, J Hus’ addictive dancehall blend, or Section Boyz’ trappy inflections, so it’ll be interesting to see where grime will shake and shift to in the coming months and years. Will it prevail when it’s no longer the new kid on the block?
https://www.youtube.com/watch?v=1GYYYZbGEuU
Image: Noisey
Grime artist Stormzy has cancelled his Australian tour dates just one day ahead of Listen Out Festival. He’s the second grime artist to cancel a tour this month, following on from Skepta, who pulled out of his sell-out headline tour just a day before it was scheduled to kick off.
The rapper took to Instagram to make the announcement that he has had to pull out of ALL but one live date for the remainder of 2016, which is fairly alarming. He’s given little information, simply writing “due to reasons out of my control.”
Listen Out also shared the news via Facebook:
https://www.facebook.com/ListenOut/posts/1136807473101395
The festival will charge on regardless – check out the full dates and lineup below.
ANDERSON .PAAK & THE FREE NATIONALS
A$AP FERG
BAAUER
CLAPTONE Immortal Live
COSMO’S MIDNIGHT
GORGON CITY DJ SET
JAUZ
JOY.
L D R U
NGAIIRE
RÜFÜS
SUI ZHEN DJ SET
TASH SULTANA
TCHAMI
TRAVIS SCOTT – JUST ADDED!
WILLOW BEATS
YUNG LEAN
Listen Out dates:
MELBOURNE | Sat 24th Sept @ Catani Gardens, St Kilda
PERTH | Sun 25th Sept (long weekend) @ Western Parklands – HBF Arena, Joondalup – new venue!
SYDNEY | Sat 1st Oct (long weekend) @ Centennial Park
BRISBANE | Sun 2nd Oct (long weekend) @ The Sporting Fields, Victoria Park – new venue!
In the lead-up to his highly anticipated debut album, Stormzy‘s latest releases Scary, One Take Freestyle and Standard have all been aggressive grime tunes which showcased his brilliantly dark and gritty style. Changing the pace, the South London emcee has now returned with a calmer, mellower track titled Birthday Girl, swapping out those gassed up, banging 808s for a more organic and relaxing vibe.
Reminiscent of his 2014 track All That Matters, we are immediately hit with a similarly down-tempo and beautifully moving beat; driven by a tranquil harp line, natural drums and chilling vocal samples, the scene is set for this romantic serenade. The Skengman himself embodies this vibe further, flexing a calmer, softened tone that we’ve rarely seen in his recent releases. Describing what he wishes to give his girl on her special day, Birthday Girl shows off Stormzy’s diversity wholly, and damn we love it.
Taking to his Twitter, Stormzy explained that the tune was for his girl in particular, but he hopes anyone who plays it on their birthday can feel special. Make sure you catch Big Stormz down under in just a few months time where he’ll be joining the likes of Baauer, A$AP Ferg, Travis $cott, Anderson .Paak and many more on the Listen Out lineup. Check out the tour dates below!
https://soundcloud.com/stormzy1/stormzy-birthday-girl
Stormzy Live Dates – Listen Out 2016
Saturday, 24th September
Catani Gardens – St Kilda, Melbourne
Sunday, 25th September
Western Parklands – HBF Arena Joondalup, Perth
Saturday, 1st October
Centennial Park, Sydney
Sunday, 2nd October
Victoria Park, Brisbane
For tickets and further information, visit Listen Out HERE
Image: Hypetrak
Until recently, the majority of public opinion comes from mainstream media. Industry experts, professors and politicians provide their own opinions, in turn helping to form those of the masses; however, in the social media age that we live in, anyone and everyone is able to share their thoughts instantly across a number of incredibly far reaching networks.
These alternative points of view help to create a more in-depth dialogue about issues as trivial as memes, as universal as ethical issues, as controversial as politics and religion and as topical as race relations and immigration. Artists, as an umbrella term, are a group of people that have always engaged in this dialogue. A painter painting, a writer writing, and a musician making music, all respond to issues and themes in some shape or form.
In the digital age, this participation in conversation has become less passive for artists and much more direct. Rather than relying on their work to speak for them, creatives can now give their own opinions directly to their audience via a number of channels of communication. Recently and more frequently, one of these channels of communication has been via lectures and discussions, most often at universities and in video series.
It was just last month that the Red Bull Music Academy hosted a roundtable discussion with some of hip-hop’s biggest producers – Zaytoven, Sonny Digital and Metro Boomin. The Atlanta boys discussed their musical origins, the process of sampling, labelling genres and their careers over the course of an hour and a half. The full interview was only posted a number of hours before writing this article and has already racked up several thousand views, but would videos like this have been so successful only a few years ago? Would people have been as responsive to the ideas and experiences of producers, rappers and everyone in between?
Definitely not, but let’s take a look at why that’s changed.
https://www.youtube.com/watch?v=GkJbkixcpcU
Let’s get this out of the way early: the rise and prevalence of social media is a huge contributor. We live in a time where I can know everything that Drake is doing and has done at the push of a button, or at the touch of my thumb. Being able to keep up to date with what any artist you’re interested in is doing means that they appear in our news feeds, and consequently our lives, much more.
Articles being written about what they’ve said or what they’ve done means they’re on our minds as often as our friends. From there, it’s only a small jump to people that maybe aren’t as interested in them as someone else. No doubt almost every person alive today knows about Kanye in some form, and they’re more likely to be even a little interested in what he’s got to say (even if a lot of it is wildly outlandish). Social media is its own universe though and most of what is said online isn’t particularly insightful and intelligent, so let’s make a big distinction here. Yes, social media is the way in which most opinions are shared and spread, but let’s take a look at how hip-hop and in depth discussion, academics, and education are overlapping.
Over the last year alone, a number of huge names in hip-hop have held lectures and classes for students at some of the world’s most renowned universities. Harvard has seen Pusha T quizzed about his role as new president of G.O.O.D Music and the dispersal power of music platforms, Chance The Rapper was there last May discussing streaming and police brutality and J. Cole visited all the way back in 2013 to talk about his upbringing.
Joey Badass gave a lecture at New York University for Black History Month, Killer Mike made an appearance at MIT to talk about race relations, Stormzy was at Oxford talking domestic violence, and Kendrick’s got a storytelling class based on his work at Georgia’s Regents University. It’s a long list, but there are many more that we don’t have the space to mention. So, why?
https://www.youtube.com/watch?v=2JPVNA44CQs
There’s no doubt that rap has become the mainstream. Look no further than the charts, where Drake’s One Dance and Desiigner’s Panda are sitting comfortably at Billboard number one and two respectively. While rap had previously been labelled as aggressive and intimidating, seen most obviously in criticisms of artists such as Wu-Tang Clan and N.W.A, it’s now, at long last, a respected artform.
As a result, rappers are now enjoying a time in the mainstream that was previously only enjoyed by pop and rock musicians. For this reason, their music is being appreciated both on a base level and at a deeper level. Though many fans listen to hip-hop and appreciate the way it sounds and the intelligent bars being spit, as has always been the case, there are those fans who wish to understand lyricism on a different level and to look at it in relation to the person’s own life.
Hip-hop is largely an artform born out of struggle. The marginalisation of black youth, the hardships of growing up in often problematic families, and the documenting of the gangsta lifestyle – these are all themes which have run through the veins of hip-hop (though not all hip-hop of course) since its inception. As these real world struggles become more and more a topic of mainstream concern, rather than pushed to the side as they have been for so long, hip-hop becomes a seemingly endless resource for the understanding of these themes.
The opinions and experiences of its proponents thus become invaluable to people trying to better understand what they, and many people like them, have gone through and experienced. Coming from these backgrounds and essentially having to become masters of business to survive properly as an artist also gives them a very unique perspective on the industry in general. They’ve experienced it all first hand, and their opinion is invaluable both in understanding how music operates currently, and the direction that it will be moving in.
While it goes without being said that each artist speaking or lecturing is giving a very different point of view on contemporary topics of discussion, the inclusion of these people in the dialogue offers opinions that have been so far lost for so long. Hip-hop is the telling of stories that many of us haven’t experienced, and it’s this first hand knowledge that will help in the solution to some of the problems that many rappers and producers alike have faced.
What will the rappers of tomorrow be lecturing on at Harvard in 20 years time? We’re looking forward to finding out.
Image: Rolling Stone
One of the UK’s best exposés of new music, The Great Escape festival played a fitting host to one of the best new faces in grime. Though London MC Stormzy could hardly be described as unheard of, the 22 year old is one of the genre’s fastest rising stars and his performance at the festival shows him still in ascendency.
Formerly known as Big Mikey, before assuming the moniker Stormzy, his 6’5” presence took over the sparsely filled FACT stage at the Brighton Dome. Headlining the stage, he brought a fast paced set that smashed through his singles to date. Including Not That Deep, the track that first brought him to the attention of the world at large, as Jools Holland featured Stormzy as the the first ever unsigned rapper to perform on his show.
Spitting through the track with his irrepressible energy and swagger, loose limbed and easy in his quick fire flow. Articulate and drenched in sweat, Stormzy’s got the crowd going and finished with a smile on his face. Understandably as his appearance at The Great Escape marks his biggest UK show a few months. Fresh off tours in the US and Japan, Stormzy is well on his way to delivering on the predictions made by his mentors and industry supporters. An artist taking grime international, the young MC has evolved a teenager’s cocky ambition into an all conquering position in music.
Bringing depth and an earnest maturity to his live performances, fans are eagerly awaiting more of the same on his highly anticipated debut album. His first record is set to drop later this year through his own label.
Watch the video of Not That Deep live at The Great Escape below:
[youtube https://www.youtube.com/watch?v=xQT99kuXEs8]
Image: The Guardian









