Half of the year has already gone by and, so far, it's been an inspiring year for British music—particularly grime and UK rap. Last year saw Kano, Giggs, Trim and Skepta release albums where each was stellar in its own right. However, this year has seen the release of various albums which have all followed a reflective and more sombre thematic direction. In some ways, it felt as though it was a passing down of the torch with these veterans releasing albums before the likes of Stormzy, J Hus and Nines. But within the wider sphere of black British music and cultural commentary, the timing of these albums couldn't have been more apt.
We're finally in a place where we're able to contextualise our experiences growing up, especially within the parameters of social and economic issues that have been widely discussed since the rise in public expression on social media. These days, more and more people are beginning to understand what grime artists have been articulating from day one—their stories and experiences. If grime is truly a subculture to rise from black working class backgrounds, it's important to view how modern albums fit within these narratives. At that point, it becomes difficult to divorce the themes, no matter how voyeuristic or "hood" they're deemed, and it becomes more apparent that, for many, experiences inform art.
Wiley released supposedly his last album, Godfather, at the top of the year, and while it didn't leave too much of a lasting impression, its nostalgic vibrancy was a clear reminder that the legendary emcee had a lot to say about his years in the business. I'm sure Wiley has had a few regrets over the years—perhaps not. But on Godfather, he doesn't dwell on the past; instead, he celebrates a legacy that'll exist long after he's gone.
The one album that completely turned heads in a way that hadn't been done since Boy In Da Corner, though, is Stormzy's Gang Signs & Prayer. For a debut album, with very little else in the way of full-length projects, it offered a deeper look and understanding into Stormzy's life with themes of absentee parenthood, road life, romance, mental health and navigating life as a black twenty-something. Nominated for this year's Mercury Prize, there's every chance Gang Signs & Prayer will win—not just for its sound, but the way in which it rallied fans and non-fans alike to support Stormzy.
Another south Londoner with a lot to say and worth listening to, Loyle Carner delivered his melancholic debut with Yesterday's Gone. Since appearing on the scene a few years ago, Loyle Carner has always presented a sentimental and candid approach to rap and his debut album didn't break stride. Throughout the album, you can hear stories dealing with ADHD, depression and having to become the breadwinner. His languid flow combined with the jazz and soul-infused production sits well with the introspective and bittersweet narrative of the album.
Nines' One Foot Out is another project that saw a rapper take a look at the world around him, in an attempt to understand and make sense of his own position within it. Coming from Harlesden, Nines shines a light on the hood life of the area, and while he embraces the lifestyle some are forced to live, his commentary throughout is also nihilistic which ultimately disrupts tired stereotypes about rappers.
What makes each of these albums special is that they speak to both the personal and wider collective issues of inner-city life. There's something to be said about grime and UK rap artists looking inward—in some ways, it can empower fans to do so the same and even be vocal about their own issues. The growth in British lyricism is clear to see.
