“Not another routine check, we didn’t take this route to be checked, it sounds like you routinely check, Black youths in hoodies and creps”

The Mitchell Brothers, 2004 and 2021.

To be criminalised before ever committing an act of criminality is an experience Black men have been subjected to throughout history. The relationship between Black people and law enforcement in our societies is one entrenched in the roots of distrust, pain, and abuse of power. When we turn on the news or step outside of our homes, even the most optimistic among us are forced to question ‘has anything really changed?’

In 2004, the grime duo The Mitchell Brothers released the single ‘Routine Check’ featuring Kano and The Streets. The song was a witty, yet defiant push back against a system that gave youths a voice. Like anthems of years gone by, it allowed them to challenge the police in a way that they hadn’t been able to before and gave them a voice. Last year the tragic murder of George Floyd at the police brutality in America sparked outrage across the world and also the idea to re-release the song (produced by ILL BLU).

The documentary of the same name is a collection of testimonies from prominent Black men from all walks of life; all giving their account of the significant impact that random stop and searches have had on them. Its long list of contributors features the likes of rapper Sneakbo, community leader Sayce Holmes-Lewis, and British Champion boxer Denzel Bentley among others. Their statements are punctuated with clips of harrowing statistics, each showing a disproportionate number of stop and searches that Black people have had to undergo.

In an ideal world, it would not be necessary to include these figures and all of the various statements would be taken at face value, but the decision to do so is even more revealing. The figures not only represent the shocking disparity in the approach to policing Black communities but also sadly highlight the lengths that our people must go to in order to legitimise our experiences with racial profiling.

Routine Check is a unique portrait of Black masculinity. The men in the documentary speak of their perseverance to survive within and ultimately change the system, but it also explores their vulnerability. Many of them speak of instances in their teenage years where overly-aggressive policing resulted in trauma that they still haven’t recovered from. On more than one occasion in the documentary, there are accounts of the police stopping vehicles and people on foot with no probable cause and claiming that they met the profile of ‘drug dealers’ and ‘criminals’ in the area. In the most extreme cases, these random checks led to the men being slammed against walls, stripped down to their underwear, and held at gunpoint by the police.

During his portion of the documentary, Sayce Holmes-Lewis poignantly explained the extent of the problem, stating: “We’ve had nearly 2,000 custody deaths since 1990 and only one conviction. That’s not justice.”

Admittedly, it doesn’t take long for the documentary to become repetitive, but that only serves to strengthen its argument. Every testimony hammers home the point that these routine checks are far more frequent and calculated than reported. Whilst Routine Check features an entirely Black cast, Black people are not its only intended audience. The hopes are for the opposing side in this conflict to see the pain caused by the stop and search policy and make genuine steps towards repairing the damage.

A sentiment summed up perfectly in the documentary by Sneakbo, who said: “Hopefully an officer can look at this and understand where the youths are coming from.”

Ayanna Witter-Johnson’s Rise Up EP is an invigorating journey that fearlessly takes us from the roots of pain to highs of prosperity.

Witter-Johnson is the definition of eclectic soul – a singer, songwriter, cellist, composer, producer, and arranger with phenomenal musical prowess, mesmerising vocals, uncompromising lyrics, and mastery of the cello. The Rise Up EP is another epic addition to her ever-growing discography. The 3-track project features rapper and activist Akala and the supremely talented Cleveland Watkiss. Released Friday 8th January, it is one of Witter-Johnson’s shortest but most impactful bodies of work.

In the midst of a global health pandemic that has highlighted the extent of racial inequality and economic disparity in our society, the much-anticipated return of Ayanna Witter-Johnson could not have been more welcomed or perfectly timed.

“Turn up the volume let’s hear the sound/I am the speaker let’s gather round” are the opening words of an EP that puts Witter-Johnson firmly at the centre of a conversation with our ancestral consciousness. There is no mincing of words here. In the song Rise Up, she paints a vivid picture of life during the trans-Atlantic slave trade, detailing the mental and physical manipulation deployed to destroy countless African civilisations – “striving to keep you under the thumb/blind you with tricks so that you succumb.”. These same lyrics could be applicable to the Jim Crow Era, the Civil Rights era, and as recently as today with the Black Lives Matter movement. As evidenced by the tragic murder of George Floyd at the hands of American law enforcement and the criminal justice system’s refusal to take immediate action.

However, the sentiment expressed on the EP is more intertwined with the latter part of the chorus than it is with the first verse – “leave the chains on the ground/time to turn this thing around”; it is a beacon of hope piercing through the darkness.

More than capable of relaying this message on her own, Witter-Johnson’s musical sensibilities towards collaboration see her Mon the opening song. He doesn’t disappoint. True to form, Akala uses his verse to speak to the potential of the oppressed when we become aware of our self-worth and we possess with strength in numbers.

Witter-Johnson’s critically acclaimed debut album Road Runner was far broader in its scope, fearlessly grappling with themes like romance, family and attachment. In stark contrast, Rise Up is succinct and laser-focused in its messaging. A musician in the purest sense of the word the art she manifests into the world has always been formless (RnB, Jazz, Classical, etc.). Drawing inspiration from her classical training at Trinity Laban Conservatoire of Music and Dance she marries it beautifully with the soulfulness of her Jamaican heritage. On her previous project, Witter-Johnson aimed for the stars with an ambitious cover of Sting’s Roxanne, but this time around everything seems more grounded and spiritual.

The second song on the EP is a modern-day take on the classic 1976 anthem Declaration of Rights by the Reggae Roots group The Abyssinians. It features the unmistakable tones and beatboxing of the legendary Cleveland Watkiss, beautifully complementing the rich essence of Witter-Johnson’s voice. Whilst it doesn’t explicitly reference him, it is clear that this EP was birthed from the seeds of Bob Marley. Rise Up echoes the messages of Marley’s timeless records Get Up, Stand Up and Exodus among others.

In an appearance on the BBC Sounds’ show This Classical Life, she spoke to the host (Jess Gilham) about being inspired by Marley’s music, saying “It tells history in an uplifting way and shows the people how they can think for themselves. Think the best of yourselves and stand up for your rights”.

The EP cover itself acts as an extended metaphor. It shows Witter-Johnson in a fierce warrior stance, armed with nothing but a bow in her right hand and the neck of her cello in her left. She is ready to go to war with her most powerful weapon against injustice, her music.

Despite the presence of collaborators and an emphasis on lyricism, there is no shortage of work for her cello (who she affectionately refers to as “Reuben”). Throughout the EP, her mastery of the cello forms the backdrop from which she and the other artists on the project can express themselves, and on the final song, we hear her in her element. Rise Up Riddim is an absorbing display of technical brilliance, every vibration, every frequency, every string, all in harmonious alignment.

In three songs Witter-Johnson succeeds in capturing the duality of the Black experience; it is to feel trauma, but it is also to know that our very existence is a testament to the resilience of those who came before us. One can only hope that the day will come where an EP of this nature will no longer be required, but the world we live in has offered no such promise of an immediate change. Rise Up is a timely, necessary, and infinitely uplifting body of work from one of our generation’s finest talents.

“Rise Up, no one can hold you down.”

Rise Up EP was released 8^th Jan and can be streamed on all music streaming platforms.

Keep up to date with Ayanna Witter-Johnson on all her social media handles – Instagram | Twitter  | Facebook | YouTube

Beyoncé released her groundbreaking performance at the 2018 Coachella festival via Netflix April 17th

TBB came together with our friends at Everyday Fro Day and actor friend Leemore Marrett Jr. to discuss what we liked and didn’t like about Homecoming … needless to say, the discussion got a little … heated!!

The music documentary available now on Netflix included the concert and behind the scenes footage. Detailing what went into pulling off the performance which celebrated Historically Black College & University (HBCU)culture with a college style band, and dance moves which included traditional stepping moves.

Here’s your next fix for when the party is in its last throes …

… and the lights are low, and everyone has moved to the floor and the low sofas with the last of the night’s drinks and chat.

‘Negro Swan’ is Dev Hynes’, alias, Blood Orange’s fourth studio album: a blend of indie hip-hop and funk. There are guest interludes from A$AP Rocky, Janet Mock, and Tei Shi— but the more interesting sound comes from the background noise that makes its way softly into each track: phone calls, footsteps, laughter, traffic filtering in from the street.  Moments like these make Negro Swan an inherently social album.

As complete as its sixteen tracks feel within it, it is by no means a self-contained project. The inclusion of those so-called background noises, the stuff which finds its way through our speakers and headphones anyway, works as an assurance from Hynes that the work is being actively listened to by a collective— that it is out in the world, rather hidden away on the iTunes library of the individual listener.

It’s important to recognise this, and how glorious it is, because Negro Swan’s mission is to give voice to the vulnerabilities experienced by queer and ethnic-minority groups. ‘Black excellence’ and ‘gay icon’ are now regularly deployed terms within such communities which reflect a new way of countering marginalisation: resistance through self-congratulatory strength and striving. But they also occlude the very real insecurities that come from belonging to an ‘out-group’.

When Hynes’ opening track, ‘Orlando’, fades in through the sound of car horns and rolling tyres, it is not an affectation. It’s an immediate way of situating the messages to come as real and universal experience. That way, if you happen to think, ‘I feel that’, when Hynes sings, ‘no one wants to be the odd one out at times/ no one wants to be the negro swan/ can you break sometimes?’, you can be sure you’re not alone.

That being said, there are moments where the record suffers from its introspection. If high points are tracks like ‘Nappy Wonder’ and ‘Hope’— ones you can’t help but feel in your body, as well as your soul and slow jam to— less convincing, are ones which overstep the balance between music and confession, tending too heavily towards the latter. Third on the album is ‘Take Your Time’, too sparse and melancholy in its arrangement to give the listener anything to connect to. These instances are rare, and what God invented a fast-forward/skip button for. They do not take away from a work of overall magnificence.

What Negro Swan successfully recognises is that strength doesn’t always come from power— it also comes from community; from knowing there is someone else out there who is struggling from the same way you are. Whether you play it alone or at a party, it is never a solitary experience.

Review by Jo Hamya

Negro Swan by Blood Orange is available to stream on Spotify or buy on iTunes. Released 24 August 2018

Following her recent sold-out show in Lagos, Gospel singer Rachel Kerr performed her first headline show in London since 2012.

Now I am not an avid Church goer but this past Bank Holiday Monday, May 28 London’s 02 Academy Islington became a Church and Mobo Award Winning Rachel Kerr was both Pastor and Choir in a 2-hour set, where she not only shared the message of God but lifted the spirit of everyone in attendance.

The supporting act on the night did a brilliant job in gearing the audience up for the main show. 28-year-old rapper, Karl Lokko held his own introducing the concert goers to his music through stories of stories of his life with songs Madiba SW9 and more where he shared his journey through a life of crime and near death experiences before finding God and becoming a better man.

After a short interval, Rachel took to the stage with her band, two backing singers and her two amazing dancers who brought an energy and vibe that the audience enjoyed throughout the whole set even joining in with some of the dance moves throughout the show.

From the moment Rachel took to the stage she brought an unmatched energy, honesty and a huge amount of gratitude for all of those who came out to support her. The show was a fusion of Rnb, Soul, Hip Hop Beats, and Reggae all with the message of God strongly routed through the lyrics.

The singer took the audience through a mixture of songs old and new [from her EPs and her fantastic mixtape Unboxed] taking time to engage with the audience between each song explaining why she wrote and/or chose to sing each song on the night. It was this engaging with the audience and creating a story behind each song that made her music and the show intimate and very personal as it felt as if she was speaking directly to you and your experiences.

Kerr blessed us with her songs Alive,  the classic I Will Love Me, Soldier (which she performed twice),  All For You (a version of the classic garage song Do You Mind by Kyla), Glory and an introduction to what we can expect from her new material with songs, Better Things are Coming and more.

Overall the show was absolutely amazing. Kerr showcased her immense vocal range her prowess as a performer and left the audience feeling warm and fulfilled, she encouraged us to embrace not only God but the special gifts and talents that he has given us all.

As she stated throughout the show we can expect an album very soon and I am truly waiting in anticipation.

Until then you can check out Rachel’s music on all music platforms and follow her on all social media @rachelkerrmusic.

On August 30th, the late night Prom hosted the Henry Wood Promenade Concerts debut of the Chineke! Orchestra, and it was an unequivocal triumph, despite its disappointing time slot!

Classical Nigerian-Irish Londoner and double bassist Chinyere Adah “Chi Chi” Nwanoku, OBE, has an eclectic, distinguished career, which goes from strength to strength. As a professor of Historical Double Bass Studies at the Royal Academy of Music and founder-member, her latest triumph comes after the incredible achievement of pulling together not just Britain’s, but Europe’s, first professional (and associated junior) BME-majority classical orchestra. Named the Igbo translation of “God makes/creates“, the Chineke! Orchestra debuted  at the Queen Elizabeth Hall in September 2015 as an associate orchestra of the Southbank Centre with the motto ‘championing change and celebrating diversity in classical music.”

A touch of the Divine might well have been at play, since earlier the same year in May, a Nottingham family sextet (made up of the older 6 of 7 siblings), performed in Britain’s Got Talent, reaching the semi-final. It featured 3 future (and current) Chineke! members – the 3 eldest, Isata (21, piano), Braimah (19, violin) and Sheku (18, cello) Kanneh-Mason.

Sheku is the current superstar of the brood, parented by business manager Stuart Mason and former university lecturer Kadiatu Kanneh, and citing the accomplished cellists Jacqueline du Pré and Mstislav Rostropovich as his “musical heroes,” alongside Bob Marley. Having passed the Grade 8 cello examination with the highest marks in the UK at 9 years old, he went on to become the first African heritage winner of the BBC Young Musician  competition, 2016, at the Royal Festival Hall with Shostakovich’s Cello Concerto No.1 (1959, and widely considered to be one of the most difficult concerted works for cello). He was the subject of a 2016 BBC Four documentary entitled Young, Gifted and Classical: The Making of a Maestro, performed at BBC Proms in the Park, Wales, and went viral with his haunting 2017 arrangement and YouTube tribute to Leonard Cohen, Hallelujah, which he also performed at the 2017 BAFTAs. There are 4 younger sisters studying 2 instruments a-piece: Konya (17, piano/violin), Jeneba (14, piano/cello), Aminata (11, violin/piano) and Mariatu (8, cello/piano), so Chineke! may yet see the entire family reunited in harmony one day.

For the end of August, the Royal Albert Hall was around ⅔ full of excited anticipation, as the earlier concert ended and they prepared for the next. The Orchestra appeared to enthusiastic, warm applause, and made way for the acclaimed Ghanaian-German conductor, Kevin John Edusei, appearing with them for the first time to perform his chosen programme of miniatures.

They opened with the world premiere of young Guyanese-Brit Hannah Kendall’s BBC-commissioned The Spark Catchers. This energetically contemporary piece takes inspiration from the urgent energy of Ethiopian-Brit Lemn Sissay’s poem of the same name, and tested the orchestra to the limit with its imaginatively intricate flashes of sound. Incisively sharp violin and piccolo rhythms captured the dance of flame in Sparks and Strikes, a solemn French horn chorale lent a melancholy to The Molten Madness, the  light, illuminating glockenspiel and harp for the quite beautiful Beneath the Stars/In the Silver Sheen was my favourite, and then back again with The Matchgirls March. One of 2015’s “brilliant female composers under the age of 35,” Edusei invited Kendall on stage to take a bow. Personally, it did not capture my imagination or emotion as expected, but I was proud to be part of the occasion.

The hugely anticipated Sheku Kanneh-Mason, took centre stage next with his  407 year old Amati cello (on permanent loan through Florian Leonhard Fine Violins from an anonymous donor) for a double helping of achingly beautiful  renditions of Dvorak’s Rondo in G minor. Op 94 and David Popper’s Lisztian pastiche Hungarian Rhapsody, Op.68. His confidence seemed to find expression with his bowing, which quickly grew for him to fully find his stride with his amazing virtuoso second performance. A standing ovation and a second bow were well-deserved! His Dvorak moved me to tears and his Popper took my breath away.

Next, reputedly the most performed piece of music by an American composer, Lyric For Strings by the first African descent Pullitzer Prize winner for music, George Walker is an arrangement of the Molto adagio second movement of his First String Quartet (1946). This is a wonderful piece of understated intricacy and romantic strings, a beautifully rendered highlight for the orchestra as a whole.

Then the petite and expressive, award-winning Tobago-born soprano Jeanine de Bique performed three short, bel canto Baroque arias with ‘winning panache,’ a confident vibrato and great skill in the coloratura sections – George Frideric Handel ‘s Da Tempeste as sung by Cleopatra in Giulio Cesare, followed by Au penchant qui nous entraline by Joseph Bologna, Chevalier de Saint-Georges, thought to be the first known composer of African heritage, having been born to an 18th century plantation owner and slave in Guadeloupe. He was known as a ‘black Mozart’ and virtuoso violinist. De Bique ended with Handel’s  Rejoice Greatly from his Messiah, and, again, earned a standing ovation and second bow. Personally not a massive fan of the coloratura in any voice bar the stunning Kathleen Battle, I could appreciate why Ms de Bique is the recipient of so many awards. She won more than a few avid admirers in that audience.

The evening finished with a superbly bold performance of Nikolay Rimsky-Korsakov’s Capriccio espagnol. Over 5 movements, the Spanish themes, of dance character expressed the very essence of the composition for him. Edusei and Chieneke! received over 5 minutes of standing ovation, during which each orchestral section took two bows! Fantastic stuff.

The Chineke! Foundation is supported by the BBC, Association of British Orchestras, Royal Philharmionic Society and Arts Council England. So, I am at a loss to explain the late night slot, and must wonder whether it was rooted in a low expectation or simply available scheduling. Still, the high standard of performance and the massive success with the attending audience should earn them a mainstream Prom platform to play an extended programme at a future season.

Catch this concert on BBC Four on 8th September, 2017, at 9.30pm, and on BBC iPlayer until 29th  September 2017. The Last Night of The Proms will be broadcast live on 9th September.

With commercial music in the UK mainly gravitating towards the grime scene, it’s refreshing to finally hear a UK Hip Hop EP which offers an alternative to the current trends.

Heart’s Desire J the Exodus’s new 7 track EP is a solid assembly of tunes and is a welcomed throwback to high quality beats and rhymes especially for Hip Hop aficionados.

Those familiar with his previous work will know that the MOBO unsung finalist has always had food for thought in his lyrics. On his new EP Heart’s Desire he continues in this vein exhibiting Socio-Political verses that flow effortlessly overhead nodding beats and musical arrangements.

For instance, Exodus holds nothing back on the opening track Fall from Grace highlighting police on black violence and the riots in Ferguson and Philly “The exodus to my people keeping it cerebral, murdered by the police surely is illegal”.

This sets the tone for the rest of the EP and on the title track Heart’s Desire he continues his concise observations questioning some artists’ true intentions in the game “what happened to the lyrics you’re more concerned with the fashion, it’s all a facade like lights camera action. When the mask comes off and you look into the mirror what do you see it’s not only the gold that glimmers”.

On Still Water Runs Deep – guest artist AKS shines and continues the words of wisdom with deep lines like “everybody’s selling out what’s the cost of my conscious, no abundance of funds could ever cover my substance”

Other notable tracks are Beast Mode which is conceptually constructed around a boxing theme and is the first video released off the EP. On this track J the Ex shows his versatility by rhyming skilful bars over string laden dark production that offers a nod to the grime crowd.

Overall it’s the EP’s assured lyrical consistency and quality of tracks throughout that is its most impressive characteristic. And will inevitably be a benchmark for any of J The Ex’s future material that follows.

Rainy Milo released her debut mixtape, Limey back in 2012 certifying herself as an accomplished Jazz/R&B singer, she then released her first EP in 2013 entitled, Black and Blonde which was well received. Rainy followed up with the release of her debut album, This Thing Of Ours. The singer who is signed to Virgin EMI records has now blessed us with her latest anticipated EP I Know I Had A Heart (Because I Felt It Breaking) a thought provoking title with equally thought provoking music.

Not shying away from her London accent, the singer defines her jazz influence mixed with her sultry tone which has been her signature style since her early career. Honey Don’t You Know is a melancholic and dreamy introduction to the effortless skills, from track to track full of soothing vocals. It’s a well thought out body of work reminding the listener exactly why Rainy Milo has had such momentum and critical acclaim with her previous work.

Missing the rain is a refreshing soul song and for me embodies exactly what she wished to accomplish with this EP a look into her heart and her feelings about that significant other. Know This is a more up-tempo song and features American singer/rapper Baegod proclaims her music Bedroom trap and future R&B which as obviously influenced the direction of the track. Produced by SBVCE who works extensively with Baegod the trap/ future funk influence adds another dimension to the EP but does not venture too far away from the vibe of the rest of the music.

The final track, and my favourite, You And I is a beautiful piece of poetry reminiscent of music in the late 90’s early 00’s. Produced by Trackademicks the song is an expression of love making the comparison between You and I and those things in life that make us feel good like ‘a ruby that catches a girls eye’ or ‘a summer breeze running through my curtains’. The song is a cushion for the mind’s eye allowing you to visualise the true beauty of love between two people.

All in all I Know I Had A Heart (Because I Felt It Breaking) is a nice calm EP, something to listen to on those long summer evenings that are on their way. This EP is a taster of what we can expect from her sophomore album which is out later this year and it tastes sweet.

You can listen to Rainy Milo’s Know I Had A Heart (Because I Felt It Breaking) via:
Soundcloud | YouTube | Spotify

Purchase the EP via:
iTunes

Connect with Rainy Milo:
Facebook | Twitter | Tumblr | Official Website

Following his much regarded debut EP, Modes of Transport: The Bus Stop British Hip Hop artist AKS finally returns with his highly anticipated sophomore release, the second project in his three-part, Modes of Transport series – entitled, Train of Thought.

Having recently featured on the J the Exodus EP, Heart’s Desire, it only served to whet the appetite in anticipation for his new material and, Train of Thought fails to disappoint. It boasts production from long-time collaborator DemDrums, newcomer Kefas and AKS himself who effortlessly delivers intoxicating poetry woven together like a visual tapestry, infused with soulful, jazz tinged production throughout.

Setting the tone instantly on the opening track, Train of Thought, you easily relate to his struggle with honest lines like:

“Up until the last days of the apocalypse, if opportunity knocks I think you’ll find I’m an occupant, behind bars me and my accomplices trying to make a profit spraying ink like an octopus”

Other independent Artists would no doubt be able to relate. And it’s refreshing how AKS manages to check some artists’ true intentions in a more analytical way.

On, Still (Then Again) featuring Tawiah – AKS thought provokingly observes:

“see the pain when I open my mouth, explains why people sell out”

Impressively he manages to communicate these conscious themes consistently, reflecting on the current state of the musical landscape through his own personal journey. His relentless dedication to his craft and perseverance is felt especially on Freedom of Being Free when he bluntly says:

“look if they don’t feel this then I ain’t even bothered, this is me man I’d rather not us deceive each other, a couple years deep and still an up and comer I’m married to the game I’ve never done a runner.”

On, Stay with Me however he shows a more affectionate side to his lyrical repertoire. It’s a soul – stirring track featuring Sincerely Wilson, beautifully orchestrated with piano chords setting the mood perfectly, and is a worthy lead single off the EP.

On the conceptual, Who Cares he cleverly breaks down broken down relations from different perspectives, showing that he has even more dimensions to his astute songwriting abilities.

All in all Train of Thought is a high-class EP from start to finish with every track complimenting the last. Even with it being five years since the last release, AKS says it best at the beginning of, Stay with Me…“back like I’ve never left.”

Purchase AKS Train Of Thought EP:
iTunes | Physical Copies 

Connect with AKS
Facebook | Twitter | Soundcloud

Across all facets of urban folklore there have been many incarnations of “The Chosen One”. Those of us old enough to remember will recall championing the likes of Dizzee Rascal, Kano, and more recently Chipmunk as juggernauts of the Grime scene with prospects of transitioning at a commercially mainstream level. How far each managed to crossover (and at what cost) has been the topic of endless debate since; but whilst we’ve been talking amongst ourselves over the last few years, the mass majority of the Grime scene and beyond have collectively witnessed the ascent of a few new names; Big Stormz, Stiff Chocolate and Wicked Skengman; all in reference as aliases to Grime’s most recent golden child, Stormzy, and I must say it’s not without good reason.

Last week finally saw the release of the South Londoner’s eagerly anticipated debut album, Gang Signs & Prayer; a project that has seemingly galvanised the hopes and dreams of a new generation of Grime listeners. Marrying the high-octane and harsh quintessential sounds of the genre with at times a softer nature, the album is a rollercoaster ride that explores paradoxes.

We’re greeted from the jump with, First things First, a punch in the face opening which sees Stormzy take aim at the naysayers as he casually raps over an eerie piano riff; and as the second track, Cold kicks off and the tempo increases we’re reminded that Grime is a UK Genre with gears. With a flow that’s reminiscent of early Dizzee Rascal, it’s easy to draw comparisons with his predecessor.

A major highlight of the record sees Stormzy call on collaborator Ghetts (who incidentally drops a verse to die for) on Bad Boys. The two continue the eerie feel, trading verses following a soundbite from the historic Grime battle between Bashy & Ghetts. Assisted by new blood, J-Hus, this feels like a triumphant moment for the scene and goes down a treat for any of its fans.

One of the remarkable things about Stormzy is his ability to unapologetically embody the belligerent whilst at the same time expressing a vulnerability that’s endearing. As soon as, Blinded by Your Grace Pt. 1 starts and sees the emcee get his vocal on, underpinned by some delicate and lush rhodes keys; its obvious that as much as this is an album to prove points and give his supporters all that they’re expecting; its also a voyage of discovery and a young man’s self expression. An emcee shamelessly singing? Why not!

Those vulnerable moments begin to come thick and fast, intermingled between the boastful and the brash, which approach with similar frequency. Soon to become sing-a-long anthems like, Velvet and the Kehlani and Lilly Allen assisted, Cigarettes and Kush smartly located next to a, Mr Skeng, which sees Stormzy on a full frontal, rapid fire assault against his doubters.

One of the more touching moments comes in the shape of the young emcee’s dedication to his mother, 100 Bags. A heartfelt rendition that sees him thanking her for all of her love and influence; and sees her solidify the undertones of faith, which frequent the album throughout. I mean there are full blown Gospel tracks on this record in the shape of Fraser T Smith produced, Blinded By Your Grace Pt 2.

A valiant and well produced album, Gang Signs and Prayers lives up to the expectations of the young emcee and undoubtedly will see history made this weekend as he races towards the UK albums number 1 slot, with a full wave of the scene supporting the album across social media.  This album will serve as a triumphant moment in the history of Grime’s ascent and could set a new standard for commercial success that we’ve not seen in a while.

This is definitely a watershed moment to have it come from an independent artist makes it all the better.

Review by Akin “AKS” Wilhelm, Co-Founder / Director Less Is More Music LTD –  @LessIsMoreMusic | @AKSonline