View source for UK rap

{{short description|British genre of hip hop}}
{{Use dmy dates|date=May 2020}}{{Use British English|date=September 2022}}
{{update|date=January 2024}}
{{Infobox music genre
| name              = UK rap
| stylistic_origins = {{hlist|[[Hip hop music|Hip hop]]|[[Urban contemporary|R&B/hip-hop]]|[[garage house]]|[[Dub music|dub]]}}
| cultural_origins  = Early 1980s, United Kingdom
| derivatives       = [[Trip hop]]
| subgenres         = {{hlist|Britcore (British hardcore hip hop)<ref>{{Cite web|url=https://www.vice.com/en/article/remembering-britcore-the-uks-forgotten-music-scene/|title=The UK's Forgotten Rap Scene Deserves Your Attention|first=Nick|last=Chester|date=2 June 2014|access-date=4 August 2019|archive-url=https://web.archive.org/web/20190804035015/https://www.vice.com/en_uk/article/pp4q4k/remembering-britcore-the-uks-forgotten-music-scene|archive-date=4 August 2019|url-status=live}}</ref>|[[road rap]]|[[UK drill]]}}
| fusiongenres      = 
| regional_scenes   = 
| other_topics      = {{hlist|[[Drum and bass]]|[[Grime (music genre)|grime]]|[[dubstep]]|[[UK garage]]|[[gangsta rap]]|[[UK drill]]|[[Drill music|drill]]|[[Trap music (hip hop)|trap]]|[[Hip hop music|hip hop]]|[[Contemporary R&B|R&B]]|[[afroswing]]}}
| other_names       = {{hlist|British hip hop|British rap|Brit-hop|UK hip hop}}
}}

'''UK rap''', also known as '''British hip hop''' or '''UK hip hop''' or '''British rap''', is a [[music genre]] and culture that covers a variety of styles of [[hip hop music]] made in the [[United Kingdom]].<ref name="brithop">{{cite news |url=http://news.bbc.co.uk/1/hi/entertainment/4455862.stm |title=BBC News website: Is UK on Verge of Brithop boom |first=Ian |last=Youngs |date=21 November 2005 |access-date=1 November 2006 |archive-url=https://web.archive.org/web/20060827113142/http://news.bbc.co.uk/1/hi/entertainment/4455862.stm |archive-date=27 August 2006 |url-status=live }}</ref><ref name="times">{{cite news |work=The Times |title=Home grown – profile – British hip-hop – music |first=Angus |last=Batey |date=26 July 2003}}</ref> The development of UK rap was shaped by a distinct set of regional influences, slang, and grassroots movements that differentiated it from American hip hop.<ref>{{Cite book |last=Kane |first=David |title=What Do You Call It? From Grassroots to the Golden Era of UK Rap |publisher=Velocity Press |year=2024 |isbn=978-1-913231-61-3 |url=https://velocitypress.uk/product/what-do-you-call-it-book/}}</ref>
It is generally classified as one of a number of styles of [[urban music|R&B/hip-hop]].<ref>{{cite web |url=https://www.bbc.co.uk/music/urban/ |title=BBC Website – Music: Urban |access-date=1 November 2006 |archive-url=https://web.archive.org/web/20061103104354/http://www.bbc.co.uk/music/urban/ |archive-date=3 November 2006 |url-status=live }}</ref><ref>{{cite web|url=http://www.vogue.co.uk/video/vogue-meets-the-brit-hop-generation|title=Vogue Meets The Brit-Hop Generation – British Vogue|access-date=15 September 2017|archive-url=https://web.archive.org/web/20170917122128/http://www.vogue.co.uk/video/vogue-meets-the-brit-hop-generation|archive-date=17 September 2017|url-status=live}}</ref><ref>{{cite web|url=http://www.vogue.co.uk/gallery/london-grime-scene-loyle-carner-section-boyz-nadia-rose|title=Vogue Meets London's Rising Music Stars – British Vogue|date=22 October 2017 |access-date=22 October 2017|archive-url=https://web.archive.org/web/20171023210602/http://www.vogue.co.uk/gallery/london-grime-scene-loyle-carner-section-boyz-nadia-rose|archive-date=23 October 2017|url-status=live}}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/4455862.stm|title=The Brithop Boom – BBC|date=21 November 2005|access-date=2 March 2018|archive-url=https://web.archive.org/web/20090403121324/http://news.bbc.co.uk/1/hi/entertainment/4455862.stm|archive-date=3 April 2009|url-status=live}}</ref> British hip hop can also be referred to as '''Brit-hop''', a term coined and popularised mainly by ''[[British Vogue]]'' magazine and the [[BBC]].<ref>{{cite web |title=Vogue Meets The Brit-Hop Generation – British Vogue |url=http://www.vogue.co.uk/video/vogue-meets-the-brit-hop-generation |url-status=live |archive-url=https://web.archive.org/web/20170917122128/http://www.vogue.co.uk/video/vogue-meets-the-brit-hop-generation |archive-date=17 September 2017 |access-date=15 September 2017}}</ref><ref>{{cite web |date=22 October 2017 |title=Vogue Meets London's Rising Music Stars – British Vogue |url=http://www.vogue.co.uk/gallery/london-grime-scene-loyle-carner-section-boyz-nadia-rose |url-status=live |archive-url=https://web.archive.org/web/20171023210602/http://www.vogue.co.uk/gallery/london-grime-scene-loyle-carner-section-boyz-nadia-rose |archive-date=23 October 2017 |access-date=22 October 2017}}</ref><ref>{{cite news |date=21 November 2005 |title=The Brithop Boom – BBC |url=http://news.bbc.co.uk/1/hi/entertainment/4455862.stm |url-status=live |access-date=2 March 2018 |archive-url=https://web.archive.org/web/20090403121324/http://news.bbc.co.uk/1/hi/entertainment/4455862.stm |archive-date=3 April 2009}}</ref> British hip hop was originally influenced by the [[Deejay (Jamaican)|dub/toasting]] introduced to the United Kingdom by Jamaican migrants in the 1950s–70s,<ref>{{Cite web|url=https://www.bl.uk/windrush/articles/sound-systems|title=Sound systems|website=The British Library|access-date=2020-02-10|archive-url=https://web.archive.org/web/20190420065549/https://www.bl.uk/windrush/articles/sound-systems|archive-date=20 April 2019|url-status=live}}</ref> who eventually developed uniquely influenced rapping (or speed-toasting) in order to match the rhythm of the ever-increasing pace and aggression of Jamaican-influenced [[Dub music|dub]] in the UK. Toasting and [[Sound system (Jamaican)|soundsystem]] cultures were also influential in genres outside of hip hop that still included [[rapping]] – such as [[Grime (music genre)|grime]], [[Jungle music|jungle]], and [[UK garage]].<ref>{{Cite news|last=Beaumont-Thomas|first=Ben|url=https://www.theguardian.com/music/2018/jun/01/inside-grime-true-history-dan-hancox-dj-target-wiley-dizzee-rascal-stormzy|title='You can't escape its inspiration': inside the true history of grime|date=2018-06-01|work=The Guardian|access-date=2020-02-11|issn=0261-3077|archive-url=https://web.archive.org/web/20181018161811/https://www.theguardian.com/music/2018/jun/01/inside-grime-true-history-dan-hancox-dj-target-wiley-dizzee-rascal-stormzy|archive-date=18 October 2018|url-status=live}}</ref><ref>{{Cite web|url=https://www.factmag.com/2016/07/06/roots-and-future-documentary-black-british-music-jungle-garage-grime-dubstep/|title=Hear a documentary on black British music from jungle to dubstep|date=2016-07-06|website=FACT Magazine|access-date=2020-02-11|archive-url=https://web.archive.org/web/20191108224525/https://www.factmag.com/2016/07/06/roots-and-future-documentary-black-british-music-jungle-garage-grime-dubstep/|archive-date=8 November 2019|url-status=live}}</ref>

In 2003, ''[[The Times]]'' described British hip hop's broad-ranging approach:

<blockquote>..."UK hip-hop" is a broad sonic church, encompassing anything made in Britain by musicians informed or inspired by hip-hop's possibilities, whose music is a response to the same stimuli that gave birth to rap in New York in the mid-Seventies.<ref name="times" /></blockquote>Although the underground scene was well established by the late 1980s, UK rap music saw little commercial success for several decades. Outside of a few exceptions such as [[Derek B]] and later the birth of [[Trip hop|trip-hop]], from the 1980s until the early 2010s UK rap made up a small percentage of album sales in the domestic market.<ref name=":9">{{Cite web |title=UK stars including Central Cee, Dave and Digga D help Rap claim record share of albums market |url=https://www.musicweek.com/talent/read/uk-stars-including-central-cee-dave-and-digga-d-help-rap-claim-record-share-of-albums-market/087721 |access-date=2024-10-26 |website=www.musicweek.com |language=en}}</ref><ref>{{Cite web |date=2023-07-19 |title=The History of British Hip Hop |url=https://www.icmp.ac.uk/blog/history-british-hip-hop |access-date=2024-10-26 |website=ICMP |language=en}}</ref> Performers saw wider success in the 2020s, including [[Stormzy]] headlining [[Glastonbury Festival]], [[Dave (rapper)|Dave]] releasing back-to-back UK number one albums with ''[[Psychodrama (album)|Psychodrama]]'' followed by ''[[We're All Alone in This Together]]'', and [[Little Simz]] winning the [[Mercury Prize]].<ref>{{Cite web |title=Britain's rap revolution |url=https://crackmagazine.net/article/what-just-happened/britains-rap-revolution/ |access-date=2024-10-26 |website=Crack Magazine}}</ref><ref name=":9" />

==History==
===Origins===
As in the US, British hip hop emerged as a scene from [[graffiti]] and [[breakdancing]], and then through to DJing and [[rapping]] live at parties and club nights, with its supporters predominantly listening to and influenced by US hip hop. Unlike in the US, the British hip hop scene was cross-racial from the beginning, as diverse [[ethnic group]]s in Britain tend not to live in [[Racial segregation|segregated]] areas, even in areas with a high percentage of non-white individuals. Such places allow youth to share [[culture]] with one another, including musical [[genre]]s such as hip hop.<ref>{{cite news |title="Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom", pp. 86–101 in Global Noise: Rap and Hip Hop Outside of the USA, edited by Tony Mitchell. Middletown, CT: Wesleyan University Press.|first=David|last=Hesmondhalgh}}</ref>

Cross pollination through migrating [[West Indies|West Indians]] helped develop a community interested in the music. The integration of [[Sound system (Jamaican)|sound systems]] represent a distinct [[British Caribbean]] influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring this sound to other venues creating a [[club culture]].<ref>Hesmondhalgh, DJ and Melville, C (2002) Urban Breakbeat Culture – Repercussions of Hip-Hop in the United Kingdom. In: Global Noise: Rap and Hip Hop Outside the USA. Wesleyan University Press.</ref> There were, however, British tunes starting to appear. There are an abundance of records that are often credited with being the first British hip hop release, "Christmas Rapping" by Dizzy Heights (Polydor, 1982), is often credited as such, as well as the slightly later released "London Bridge" by [[Newtrament]] (Jive Records, 1983).<ref name="low">{{cite web|url=http://www.low-life.fsnet.co.uk/ukhiphop/story/early_doors.htm |title=Low Life/British hip hop, UK hip hop: the story find |archive-url=https://web.archive.org/web/20061010071345/http://www.low-life.fsnet.co.uk/ukhiphop/story/early_doors.htm |archive-date=10 October 2006 |url-status=dead}}</ref> Dizzy Heights was the first MC to be signed to a major label.<ref>{{Cite web|date=2020-11-01|title=Ty and the history of UK hip-hop - Features - Mixmag|url=https://mixmag.net/feature/ty-and-the-history-of-uk-rap|access-date=2020-12-23|archive-url=https://web.archive.org/web/20201101150514/https://mixmag.net/feature/ty-and-the-history-of-uk-rap|archive-date=1 November 2020}}</ref> Two singles from 1980 precede both of these however, namely Allen & Blewitt's novelty record "Chip Shop Wrapping", released in 1980, a parody of [[The Sugarhill Gang|The Sugarhill Gang's]] "[[Rapper's Delight]]", and Bo Kool's "Money (No Love)". The instrumental for "Money (No Love)" was produced by [[Funk Masters]] member Tony Williams, and would turn out to be an influential release in its own right, going on to inspire DJ's from New York to employ influences from [[dub music]].<ref>{{Cite web|title=Looking back on 40 years since the first rap hit on the UK chart|url=https://www.officialcharts.com/chart-news/looking-back-on-40-years-since-the-first-rap-hit-sugarhill-gang-s-rapper-s-delight__27830/|access-date=2020-12-19|website=www.officialcharts.com|language=en}}</ref><ref>{{Cite web|date=2016-04-26|title=GREG WILSON'S DISCOTHEQUE ARCHIVES #1|url=https://djmag.com/features/greg-wilsons-discotheque-archives|access-date=2020-12-19|website=DJMag.com|archive-date=6 December 2020|archive-url=https://web.archive.org/web/20201206132412/https://djmag.com/features/greg-wilsons-discotheque-archives|url-status=dead}}</ref>

In Scotland, actor and stand-up comedian [[Johnny Beattie]] released "The Glasgow Rap" in 1983, receiving some chart success at the time. He later claimed to be "Scotland's first rap star".<ref>{{Cite web|title=Obituary: Johnny Beattie|url=https://www.thestage.co.uk/obituaries--archive/obituaries/johnny-beattie|access-date=2020-12-23|website=The Stage|language=En}}</ref><ref>{{Cite news|date=2012-12-12|title=Johnny Beattie: 60 years In The Limelight|language=en-GB|work=BBC News|url=https://www.bbc.com/news/uk-scotland-20677255|access-date=2020-12-23}}</ref> This was one of several British [[Novelty song|novelty]] or [[comedy hip-hop]] singles which hit the UK charts during the 1980s, including "Wikka Wrap" by [[the Evasions]], "Snot Rap" by [[Kenny Everett]], "[['Ullo John! Gotta New Motor?]]" by [[Alexei Sayle]], "Rat Rappin'" by [[Roland Rat]], and later in the decade, "[[Stutter Rap (No Sleep til Bedtime)]]" by [[Morris Minor and the Majors]] and "[[Loadsamoney]]" by [[Harry Enfield]].<ref>{{cite web |last=Thomas |first=Darin |date=11 December 2019 |title=20 bizarre novelty songs from the 80s you’ve probably never heard of |url=https://metro.co.uk/2016/07/01/20-bizarre-novelty-songs-from-the-80s-youve-probably-never-heard-of-5973831/ |website=[[metro.co.uk]] |access-date=29 January 2025}}</ref>

There were also early pop records which dabbled with rap – such as [[Adam and the Ants]]' "[[Ant Rap]]" (CBS, 1981) and [[Wham!]]'s "[[Wham Rap! (Enjoy What You Do)]]" (Inner Vision, 1982) — but these are often considered pop appropriations of US rap.<ref>{{cite book|last1=Ogg|first1=Alex|title=Paid in full? an introduction to brit-hop, grime and UK rap|date=2011|publisher=Andrews UK Ltd.|location=Luton|isbn=978-1908354044|url=https://books.google.com/books?id=3qS6BAAAQBAJ&q=inauthor%3A%22Alex%20Ogg%22&pg=PP1|access-date=2016-08-09|archive-url=https://web.archive.org/web/20190419194905/https://books.google.com/books?id=3qS6BAAAQBAJ&lpg=PP1&dq=inauthor%253A%22Alex%20Ogg%22&pg=PP1|archive-date=19 April 2019|url-status=live}}</ref> Punk band [[the Clash]] had earlier dabbled with rap on the single "[[The Magnificent Seven (song)|The Magnificent Seven]]" from their album ''[[Sandinista!]]'' (CBS, 1980), and a later single "[[This Is Radio Clash]]" (1981).<ref>{{Cite web|url=https://monthlyreview.org/2003/06/01/let-fury-have-the-hour-the-passionate-politics-of-joe-strummer/|title=Monthly Review {{!}} 'Let Fury Have the Hour': The Passionate Politics of Joe Strummer|last=Movements|first=Antonino D’AmbrosioTopics|date=2003-06-01|website=Monthly Review|access-date=2020-02-11|archive-url=https://web.archive.org/web/20200106091520/https://monthlyreview.org/2003/06/01/let-fury-have-the-hour-the-passionate-politics-of-joe-strummer/|archive-date=6 January 2020|url-status=live}}</ref> Even earlier than this, in 1979, [[Ian Dury and the Blockheads]] released "[[Reasons to Be Cheerful, Part 3|Reasons to Be Cheerful (Part 3)]]", another record with influences from hip hop.<ref>{{Cite web|title=Ian Dury - Rockabilly Central|url=http://www.rockabilly.net/articles/iandury3.shtml|access-date=2020-12-19|website=www.rockabilly.net}}</ref>

Then [[Sex Pistols]] manager [[Malcolm McLaren]]'s "[[Buffalo Gals (Malcolm McLaren song)|Buffalo Gals]]" (Charisma, 1982), featuring the New York hip hop group [[World's Famous Supreme Team]], was the breakthrough hit that introduced the genre to the United Kingdom<ref name=":11">{{Cite web|url=http://old.manchesterconfidential.co.uk/Entertainment-and-Sport/Music/HomeGrown-the-story-of-UK-hip-hop|title=HomeGrown: the story of UK hip-hop|website=Manchester Confidential|access-date=2020-02-11}}</ref> — McLaren's ''[[Duck Rock]]'' album as a whole experimented with many musical styles from around the world. "Buffalo Gals" and another track from the album, "World's Famous" which also featured the group, used techniques which have been established in hip hop in the United States, such as [[sampling (music)|sampling]] and [[scratching]]. McLaren even included a song referencing the '[[Double Dutch (jump rope)|Double Dutch]]' dance that was popular among breakdancing crews in New York at the time.<ref>{{Cite web|url=https://www.vice.com/en/article/double-dutchs-forgotten-hip-hop-origins-456/|title=Double Dutch's Forgotten Hip-Hop Origins|last=Schwartzberg|first=Lauren|date=2015-03-31|website=Vice|access-date=2020-02-11|archive-url=https://web.archive.org/web/20191001205746/https://www.vice.com/en_au/article/nn974m/double-dutchs-forgotten-hip-hop-origins-456|archive-date=1 October 2019|url-status=live}}</ref>

Over the next few years, more UK hip hop and [[electro music]] was released: ''Street Sounds Electro UK'' (Street Sounds, 1984), which was produced by [[Greg Wilson (DJ)|Greg Wilson]] and featured an early appearance from MC Kermit, who later went on to form the Wilson produced [[Ruthless Rap Assassins]]; [[Mastermind Herbie|The Rapologists]]' "Kids Rap/Party Rap" (Billy Boy, 1984) and Grandmaster Richie Rich's "Don't Be Flash" (Spin Offs, 1985).<ref name="The Vinyl Factory - Richie Rich">{{cite web |title=The 10 records that helped British hip hop find its own voice |url=https://thevinylfactory.com/features/the-10-records-that-helped-british-hip-hop-find-its-own-voice/ |website=[[The Vinyl Factory]] |access-date=24 June 2018 |date=17 September 2015 |archive-url=https://web.archive.org/web/20180624150550/https://thevinylfactory.com/features/the-10-records-that-helped-british-hip-hop-find-its-own-voice/ |archive-date=24 June 2018 |url-status=live }}</ref> Releases were still few and far between, and the scene remained predominantly underground.[[File:Tim Westwood 2012.jpg|thumb|right|Westwood's official [[YouTube]] channel, Tim Westwood TV, has currently over 617 million video views and over 1.41 million subscribers. The channel has videos of freestyles & interviews from some of the most successful hip hop artists including [[Notorious B.I.G.]], [[Eminem]], [[Jay-Z]], [[Nas]] and [[Lil Wayne]].]]

Although record labels began to take note of the [[underground scene]] throughout the 1980s and 1990s, radio play and publicity were still a difficulty in helping the fledgling scene to grow, and the scene only managed to survive through word of mouth and the patronage of [[pirate radio]] stations around the country. Mainstream radio did play British hip hop on occasion, supported by such well-known DJs as [[Dave Pearce]], [[Tim Westwood]], Steve Barker{{citation needed|date=March 2021}} and [[John Peel]].<ref name=":11" /><ref>{{Cite web|url=http://www.mtv.com/news/1493022/john-peel-legendary-dj-and-champion-of-acts-from-bowie-to-franz-ferdinand-dies/|title=John Peel, Legendary DJ And Champion of Acts From Bowie To Franz Ferdinand, Dies|last=Montgomery|first=James|publisher=MTV News|access-date=2020-02-11|archive-url=https://web.archive.org/web/20190526151054/http://www.mtv.com/news/1493022/john-peel-legendary-dj-and-champion-of-acts-from-bowie-to-franz-ferdinand-dies/|archive-date=26 May 2019|url-status=dead}}</ref><ref>{{Cite web|url=https://www.mixcloud.com/colinmillar/old-school-uk-hip-hop-radio-sessions-volume-5/|title=Mixcloud|website=Mixcloud|access-date=2020-02-11|archive-url=https://web.archive.org/web/20111224014909/http://www.mixcloud.com/colinmillar/old-school-uk-hip-hop-radio-sessions-volume-5/|archive-date=24 December 2011|url-status=live}}</ref>

British hip hop in the 1980s was not just confined to music and break-dancing, but also involved the spread of New York City-style graffiti – another [[Four elements of hip hop|integral element of US hip hop culture]] — to London and other UK inner-city areas, both on walls and trains. The most direct influence was, however, on graffiti painted in [[London Underground]] trains. Teenagers from inner London and other European cities who were into electro-hip hop and had family and other links to New York City had by the mid-1980s taken up some of the traditions of subway graffiti and exported them home, although legendary New York writers like Brim, Bio, and Futura had themselves played a significant role in establishing such links when they visited London in the early-to-mid-1980s and 'put up pieces' on or near the west London end of the [[Metropolitan Line]]. Almost as significantly, just when [[subway graffiti]] was on the decline in New York City, some British teenagers who had spent time with family in Queens and the Bronx returned to London with a "mission" to Americanise the London Underground through painting New York City-style graffiti on trains. These small groups of London 'train writers' adopted many of the styles and lifestyles of their New York City forebears, painting graffiti train pieces and in general 'bombing' the system, but favouring only a few selected underground lines seen as most suitable for train graffiti. Although on a substantially smaller scale than what had existed in New York City, graffiti on London Underground trains became seen as enough of a problem by the mid-1980s to provoke the British Transport Police to establish its own graffiti squad modelled directly on and in consultation with that of the New York City MTA. At the same time, graffiti art on London Underground trains generated some interest in the media and arts, leading to several art galleries putting on exhibitions of some of the art work (on canvas) of a few London train writers as well as TV documentaries on London hip hop culture like the BBC's ''Bad Meaning Good'', which included a section featuring interviews with London train writers and a few examples of their pieces.

While many early rappers from the UK, such as [[Derek B]], imitated the styles and accents of their US heroes, there were many who realised that to merely transpose US forms would rob UK hip-hop of the ability to speak for a [[disenfranchised]] British [[constituency]] in the way that US hip-hop so successfully spoke to, and for, its audience. Attempts were made by UK rappers to develop styles more obviously rooted in British [[semantics]], [[syntax]] and [[dialectical]] [[linguistic]] praxis and practices — [[Rodney P]] of the [[London Posse]] deliberately chose a London accent{{what|date=June 2025}} – although many succeeded only in adopting a slurred hybrid that located the rap "somewhere in the middle of the Atlantic Ocean".<ref>Hesmondhalgh, David and Caspar Melville. "Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom." In Global Noise: Rap and Hip-Hop Outside the USA, 86–110. Middletown: Wesleyan University Press, 2001.</ref>

===Development: Late 1980s–early 1990s===
The first record label devoted to releasing UK hip hop acts was founded in 1986. [[Simon Harris (musician)|Simon Harris]]' [[Music of Life]] label was home to rapper [[Derek B]], the first UK rapper to achieve chart success. He even collaborated with [[Public Enemy (band)|Public Enemy]] on his album ''[[Bullet from a Gun (album)|Bullet from a Gun]]''<ref>{{Cite web|url=http://www.independent.co.uk/news/obituaries/derek-b-rapper-and-producer-who-became-the-first-uk-hip-hop-artist-to-infiltrate-the-british-pop-1864852.html|title=Derek B: Rapper and producer who became the first UK hip-hop artist to|date=2010-01-12|website=The Independent|access-date=2020-02-11|archive-url=https://web.archive.org/web/20180106090734/http://www.independent.co.uk/news/obituaries/derek-b-rapper-and-producer-who-became-the-first-uk-hip-hop-artist-to-infiltrate-the-british-pop-1864852.html|archive-date=6 January 2018|url-status=live}}</ref> and was the first British rapper to appear on ''[[Top of the Pops]]''.<ref>{{Cite news|last=Michaels|first=Sean|url=https://www.theguardian.com/music/2009/nov/17/british-rapper-derek-b-dies|title=British rapper Derek B dies at 44|date=2009-11-17|work=The Guardian|access-date=2020-02-11|issn=0261-3077|archive-url=https://web.archive.org/web/20190228130415/https://www.theguardian.com/music/2009/nov/17/british-rapper-derek-b-dies|archive-date=28 February 2019|url-status=live}}</ref>

Building on Derek B's success, [[Music of Life]] went on to sign groups such as [[Hijack (hip hop group)|Hijack]], the [[Demon Boyz]], [[Hardnoise]] (later Son of Noise) and [[MC Duke]]. Their ''Hard as Hell'' series mixed homegrown talent like Thrashpack and the [[She Rockers]] with US artists such as [[Professor Griff]]. Music of Life was swiftly followed by other labels such as [[Mango Records]] and Kold Sweat. Another successful British hip-hop artist that emerged from Music of Life was [[Asher D (Jamaican-British rapper)|Asher D]], whose Jamaican origins showed through in his vocal style. In 1988, in collaboration with [[Daddy Freddy]], Asher D released one of the first hip-hop [[dancehall]] fusion albums, ''[[Ragamuffin Hip-Hop]]''.<ref name=":5">{{Cite web |title=Ty and the history of UK rap |url=https://mixmag.net/feature/ty-and-the-history-of-uk-rap |access-date=2023-06-19 |website=Mixmag}}</ref>[[File:Slick Rick - The Ruler.jpg|thumb|259x259px|Slick Rick is an English rapper.]]
Moving away from its US roots, British hip hop started to develop its own sounds: acts like [[Hijack (group)|Hijack]], II Tone Committee, [[Hardnoise]], and [[Silver Bullet (rapper)|Silver Bullet]] developed a fast and [[hardcore hip hop|hardcore]] style (often referred to as Britcore<ref name=":5" />), while many other acts took influences from elsewhere. Britcore acts were amongst the first to receive wide-spread attention across [[continental Europe]].<ref name=":5" /> [[Caveman (group)|Caveman]] and [[Outlaw Posse]] developed a jazz influenced style, whilst MC Mell'O' mixed [[jazz]] and hardcore. [[London Posse]], [[Black Radical Mk II]] and DJ Ruf Cut And Tuf C were more influenced by [[reggae]] and [[disco]] whilst the [[Wee Papa Girl Rappers]], [[Cookie Crew]] and [[Monie Love]] achieved chart success with more radio-friendly hip hop. However, despite the chart success of some British-born hip hop artists – for example [[Monie Love]], [[Slick Rick]], [[Young MC]] and [[MF Doom]], who all moved to the US – the majority of the scene was still underground and small scale.

Kinetic Effect joined the scene in the early 1980s and was part of rap outfit 2 the Top as D-Koy; later, in 1991, he teamed with Insane Macbeth to record "Borderin' Insanity" (released in 1993) and in 1995, he recorded "Man Bites Dog"/"The Effect of Fear"<ref name="Heroes of UK Hip Hop">[http://www.heroesofukhiphop.com/Kinetic.htm] {{webarchive|url=https://web.archive.org/web/20120204163244/http://www.heroesofukhiphop.com/Kinetic.htm|date=4 February 2012}}</ref> Their song "The Rhythm I Give 'Em" made the UK Top 10 Hip Hop chart.

In 1987, [[Positive Beat Records]]<ref>{{cite web |url=http://www.discogs.com/label/Positive+Beat+Records |title=Positive Beat Records – CDs and Vinyl at Discogs |publisher=discogs |access-date=2014-02-24 |archive-url=https://web.archive.org/web/20081028213606/http://www.discogs.com/label/Positive+Beat+Records |archive-date=28 October 2008 |url-status=live }}</ref> came out of the hotbed of early UK hip hop, [[Ladbroke Grove]] in London with two releases. The label followed up the single "It's Getting Rough" by Rocky X and D-D Dance<ref>{{cite web |url=http://top80.pl/disc/release/1338179/RockyX/(It%27s+Getting)+Ruff |title=Italo Disco, Euro Disco, Muzyka, Ludzie, Radio, Forum, Klimat, Czat |publisher=TOP80.PL |access-date=2014-02-24 |archive-url=https://web.archive.org/web/20090430073902/http://top80.pl/disc/release/1338179/RockyX/(It%27s+Getting)+Ruff |archive-date=30 April 2009 |url-status=live }}</ref> with the Various Artists' ''Known 2 Be Down''<ref>[http://www.raphistory.net/database?inc=records&operation=details&ID=3078] {{webarchive|url=https://web.archive.org/web/20110724025952/http://www.raphistory.net/database?inc=records&operation=details&ID=3078|date=24 July 2011}}</ref> album. This featured Sir Drew (of KREW and [[Newtrament]]), MC Flex, [[She Rockers]], Rapski and more of West London's finest rap talents.

Other notable labels at the time included [[Liberty Grooves]]<ref>Ear To The Ground Magazine, Issue 1 1993</ref> in Tooting, South London. The label itself started in late 1989 with the first release in 1990 by Whirlwind D & Johnny F of [[Solid n Mind]]. Other artists included [[Gutter Snypes]],<ref>Rap Trade Magazine, June 1994 Issue 6, Publisher: Pure Impact</ref> True Style and [[DJ Noize]]. Liberty Grooves was also a shop and many notable artists such as MC Mell O and [[Braintax]] would perform there.

In 1988, Rapski released "The Connection" on 12".<ref>{{cite web |url=http://top80.pl/disc/label/Positive+Beat+Records |title=Italo Disco, Euro Disco, Muzyka, Ludzie, Radio, Forum, Klimat, Czat |publisher=TOP80.PL |access-date=2014-02-24 |archive-url=https://web.archive.org/web/20090430182155/http://top80.pl/disc/label/Positive+Beat+Records |archive-date=30 April 2009 |url-status=live }}</ref> The track was taken from ''Known 2 Be Down'' and was an early example of mixing hip hop and [[reggae]] in a (London) style. More was to come in the early 1990s in the form of MC Reason (a.k.a. Voice of Reason) with "Symbolise"/"HouseQuake" and Jonie D with "Which Base"/"Ride On" which was performed live on [[ITV (TV network)|ITV]] in 1991.

A mindset began to develop – typified by the [[Gunshot (band)|Gunshot]] tune "No Sell Out" (1991), or [[Hardnoise|Son of Noise]]'s "Poor But Hardcore" (1992) — that distrusted successful artists who did not utilise the hardcore style most associated with the scene. [[Silver Bullet (rapper)|Silver Bullet]]'s chart success was applauded due to an uncompromisingly rapid delivery, whereas Derek B and [[Rebel MC]] were scorned when their more pop influenced styles earned them success. Such artists were often branded "sell outs". As the scene grew, it became less common for British rappers to imitate US accents (those who did were often ridiculed) and British rap became more assured of its identity.

''[[Hip Hop Connection]]'' — the first major British hip hop magazine – was founded in 1989 and by the early 1990s the British hip hop scene seemed to be thriving. Not only was there a firm base of rappers in London such as Blade, [[Black Radical Mk II]], Bushkiller (including Sirus) and [[Overlord X]], who cut a [[Discomix]] with [[Jah Shaka]] — but many distinct scenes developed nationally.

Birmingham and the West Midlands gave rise to [[Credit to the Nation]], whose MC Fusion would espouse conscious anti-racist, sexist and homophobic lyrics. The band would also find some brief mainstream success with their [[indie rock]] crossover sound. Leeds spawned [[Braintax]] and Breaking the Illusion (who together founded [[Low Life Records]]) as well as [[Nightmares on Wax]]. Greater Manchester gave birth to the [[Ruthless Rap Assassins]], Krispy 3 (later Krispy), the [[Kaliphz]], [[Jeep Beat Collective]] and [[MC Tunes]].

Bristol's scene has a long history going right back to the early 1980s where links were made with outfits from New York. [[The Fearless Four (group)|The Fearless Four]] came over in 1984 along with graffiti legends the [[Tats Cru]] and [[Rock Steady Crew]].  Bristol (specifically the [[St Pauls, Bristol|St. Pauls]] area) produced The Wild Bunch (later better known as [[Massive Attack]]), and [[Nellee Hooper]] who went on to produce for [[Soul II Soul]], as well as cutting [[dubplate]] [[discomix]]es with [[roots reggae]] artists, [[Horace Andy]] and [[Mad Professor]]. The city later became the home of [[trip hop]] with artists like [[Tricky (musician)|Tricky]] and [[Portishead (band)|Portishead]].

[[Caveman (group)|Caveman]] signed to a major label — [[Profile Records]], the label home of [[Run–D.M.C.]] — and Kold Sweat came into their own, discovering groups like SL Troopers, [[Dynametrix]], Unanimous Decision and Katch 22, whose "Diary of a Blackman" was banned by [[BBC Radio 1|Radio 1]] for using a sound clip from the [[British National Front|National Front]].

In 1991, [[Hijack (hip hop group)|Hijack]] released ''The Horns of [[Jericho]]'' (Rhyme Syndicate Records, 1991) on [[Ice-T]]'s recently formed Rhyme Syndicate label. The first single, "The Badman Is Robbin'", was a top 40 hit and they went on sell more than 30,000 albums.<ref>{{cite web|url=https://rockthebells.com/articles/hijack-rap-group/|title=HIJACK: THE STORY OF BRITAIN'S "PUBLIC ENEMY"|work=Rock The Bells|author=Philip Mlynar}}</ref>

British hip hop was affected by the record industry clamping down on [[sampling (music)|sampling]], beginning to charge for the use of samples and prosecuting those who used them without permission. Larger US acts could afford to license samples and still turn a profit for their labels, a luxury not available to many smaller UK artists. One such victim of this was [[Milton Keynes]] group [[the Criminal Minds]]. Their first two releases, the 1990 mini-album ''Guilty as Charged'' and a 1991 EP ''Tales from the Wasteland'' were bogged down by potential sample clearance problems and thus were only ever made available in small numbers. As [[breakbeat hardcore]] music started to become very popular in the UK in the early 1990s, the Criminal Minds turned their attention to making this type of music instead.<ref>{{cite web|url=https://internationalorange.io/systems-overload-britcore-and-the-uk/|title=Systems Overload: Britcore and the UK underground|work=International Orange|date=19 November 2020|author=Oli Warwick}}</ref>

The UK hip hop boom never achieved its predicted commercial success. Hijack's ''The Horns of Jericho'' was never released in the US, whilst record companies dropped artists, citing poor sales and lack of interest. [[Mango Records]] closed down, and the British public began to turn their affections to [[Jungle music]], a fusion of breakbeat hardcore, dub, [[dancehall]], [[ragga]], hip hop and [[reggae]], profoundly influenced by the rhythmic dynamics of [[King Tubby]]'s and [[Scientist (musician)|Scientist]] [[discomix]]es and the spatial reverberations of [[Jah Shaka]] and [[Lloyd Coxsone]] sound systems, both of whom attracted followers with an almost religious sense of awe and devotion to sound, specifically, to bass tones and frequencies. Other acts and styles developed from the hip hop scene, resulting in new genres to describe them – for example [[Massive Attack]]<ref>{{cite news |url=http://news.bbc.co.uk/1/hi/sci/tech/70844.stm |title=BBC News website, Massive Attack on the net |date=29 March 1998 |access-date=2 November 2006 |archive-url=https://web.archive.org/web/20040509115510/http://news.bbc.co.uk/1/hi/sci/tech/70844.stm |archive-date=9 May 2004 |url-status=live }}</ref> with [[trip hop]], or [[Galliano (band)|Galliano]], [[Us3]] and [[Urban Species]] with [[acid jazz]].

In the period between 1992 and 1995, the only groups to make much impact were Gunshot and [[The Brotherhood (rap group)|the Brotherhood]]. 
Gunshot's 1992 album ''Patriot Games'' was a landmark with tracks such as "Mind of a Razor" and "World War 3" becoming British hardcore classics.  Formed in the '80s, the Brotherhood released their first record, simply called ''Brotherhood EP'', as a white label in 1991. They went on to release ''Wayz of the Wize'' in 1992, then ''Untitled 93'' and ''XXIII'' in 1993, and ''Hip Hop N' Rap'' in 1994, all on the Bite It! label. None of the records sold in huge numbers but they managed to gain airplay on the [[Tim Westwood]] show and DJ 279's show on [[Choice FM]], gaining them a solid following across the UK. Bite It! also released tracks from artists such as Pauly Ryan and the Scientists of Sound.

===New generation: Late 1990s–early 2000s===
Following an initial flurry of interest from major record labels in the 1980s, by the early 1990s the scene had moved underground after record companies pulled back. In the mid-1990s hip hop in the UK started to experiment and diversify – often mutating into diverse genres entirely, such as [[trip hop]] and began making inroads into the US market.<ref>{{cite web |url=http://www.rocklists.com/q101-1997.html |title=Q101 Top 101 of 1997 |publisher=Rocklists.com |access-date=2015-06-17 |archive-url=https://web.archive.org/web/20150924091722/http://www.rocklists.com/q101-1997.html |archive-date=24 September 2015 |url-status=live }}</ref>

As the old rappers left the scene, a new generation, raised on hip hop and [[electronica]], was coming of age: [[The Herbaliser]] released ''Remedies'' ([[Ninja Tune]], 1995), [[Mr. Scruff]] released the "Frolic EP Pt 1" (Pleasure Music, 1995), [[Mark B]] released "Any More Questions?" (Jazz Fudge, 1995) and [[DJ Skitz]] released "Where My Mind Is At/Blessed Be The Manor" (Ronin Records, 1996) featuring a young rapper called [[Roots Manuva]] on guest vocals who had previously released the single "Next Type of Motion" (Sound of Money, 1995).

Record labels that attempted to merge British hip hop style and sensibilities with modern dance music began to emerge, like [[Rae & Christian|Mark Rae]]'s [[Grand Central Records|Grand Central]] (home to Aim, Rae & Christian, and Fingathing, among others) or [[DJ Vadim]]'s Jazz Fudge. Increasingly, these artists managed to avoid the issues surrounding sampling by making music themselves (bands such as the [[Stereo MCs]] began playing instruments and sampling their own tunes) or searching out more obscure records where a most cost effective licensing deal could be arranged.

British hip hop began to go through a renaissance,<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/reviews/1482738.stm |title=BBC News website: British hip hop renaissance |first=Barney |last=Rowntree |date=10 August 2001 |access-date=2 November 2006}}</ref> its style shifting from the hardcore template of its youth and moving into more melodic territory.

The Brotherhood managed to broker a major deal with Virgin Records in 1995.  Continuing their relationship with Trevor Jackson as their producer, they released 3 singles 'Alphabetical Response', 'One Shot', 'Punk Funk' and their album ''[[Elementalz]]'', all in 1996.  Their work was met with critical acclaim and they toured solidly with American artists including Cypress Hill, The Roots and WuTang, but big record sales seemed to be very elusive and they parted ways with Virgin in 1998.

In late 1996, [[Will Ashon]] started up his new [[Ninja Tune]] backed label [[Big Dada]] and planned a roster of performers. Bandit of Birmingham's MSI/Asylum crew informed Will of [[Juice Aleem]] that he was contemplating who could truly represent the ethos of the new label. Ashon was impressed with the demo and agreed to have Aleem on board. The results of this were the first release of the now famous record label: in 1997 Juice featured on Big Dada record label's first ever release[2], "Misanthropic", under the pseudonym "Alpha Prhyme", a collaboration between himself and [[Luke Vibert]].

In 1998, [[Mark B]] and Blade released "Hitmen for Hire EP", which featured guest appearances from [[Lewis Parker (musician)|Lewis Parker]] and [[Mr Thing]] (of the [[Scratch Perverts]]). The EP was a success, and led to the successful 2001 album ''The Unknown'', which despite never charting in the UK top 75, was still a top 100 success and an even bigger success within its genre. Also, the album spawned the 2001 top 40 single "Ya Don't See the Signs", which was a remix by [[Feeder (band)|Feeder]] frontman [[Grant Nicholas]], after the title track was a top 75 hit and Blade with Mark B supported Feeder. The same year, Bristol's Hombré label released the "2012 EP" from [[Aspects (band)|Aspects]], a benchmark release within the movement. [[Roots Manuva]], [[Blak Twang]], [[Mud Family]], [[Ti2bs]], [[Task Force (band)|Task Force]], [[Phi Life Cypher]], MSI & Asylum, [[Jeep Beat Collective]] and [[Ty (rapper)|Ty]] all came to the public's attention, while veteran acts [[Rodney P]], [[Demon Boyz|Mike J]], and MC Mell'O' returned to the scene.

===Underground to mainstream: 2000s to 2010s===
A new generation of artists emerged following the turn of the century, including [[Jehst]], [[Skinnyman]], [[Nicky Spesh]], [[Foreign Beggars]] and Usmaan. At the same time, a new style of [[electronic music]] emerged in the early 2000s, derivative of [[UK garage]] and [[jungle music|jungle]], with influences from [[dancehall]], [[drum and bass]] and hip hop; this new genre was dubbed "[[Grime (music)|grime]]" (sometimes called eskibeat or sublow) and effectively superseded UK hip hop in both popularity and the mainstream conscious. Grime is generally considered to be distinct from hip-hop due to its roots primarily being genres such as UK garage and jungle.<ref>{{Cite web|url=https://www.complex.com/pigeons-and-planes/2015/11/grime-hip-hop|title=Deeper Than Rap: Grime is Not a Subgenre of Hip-Hop|website=Complex|access-date=2019-09-14|archive-url=https://web.archive.org/web/20190914112019/https://www.complex.com/pigeons-and-planes/2015/11/grime-hip-hop|archive-date=14 September 2019|url-status=live}}</ref><ref>{{Cite web|url=https://theconversation.com/skepta-grime-and-urban-british-youth-language-a-guide-65611|title=Skepta, grime and urban British youth language: a guide|website=The Conversation|date=21 September 2016 |url-status=live|archive-url=https://web.archive.org/web/20191008174156/http://theconversation.com/skepta-grime-and-urban-british-youth-language-a-guide-65611|archive-date=8 October 2019}}</ref><ref>{{Cite web|url=https://www.vice.com/en/article/grime-is-approaching-the-breakthrough-moment-hip-hop-reached-in-the-90s/|title=Grime is Approaching the Breakthrough Moment Hip-Hop Reached in the 90s|date=2016-12-21|website=Vice|url-status=live|archive-url=https://web.archive.org/web/20191105013003/https://www.vice.com/en_uk/article/53gam8/grime-is-approaching-the-breakthrough-moment-hip-hop-reached-in-the-90s|archive-date=5 November 2019}}</ref><ref name=":05">{{Cite web|url=https://www.standard.co.uk/go/london/music/grime-time-what-it-is-and-where-to-find-it-a3247511.html|title=Grime time: What it is and where to find it|date=2016-05-13|website=Standard|url-status=live|archive-url=https://web.archive.org/web/20191025044957/https://www.standard.co.uk/go/london/music/grime-time-what-it-is-and-where-to-find-it-a3247511.html|archive-date=25 October 2019}}</ref><ref name="complex2">{{Cite web|url=http://uk.complex.com/music/2016/06/hip-hop-dancehall-breaking-down-the-origins-of-grime/dizzee-talks-hip-hop-rosenberg|title=Hip-Hop Or Dancehall? Breaking Down The Grime Scene's Roots|website=Complex UK|access-date=5 February 2017|archive-url=https://web.archive.org/web/20170206103917/http://uk.complex.com/music/2016/06/hip-hop-dancehall-breaking-down-the-origins-of-grime/dizzee-talks-hip-hop-rosenberg|archive-date=6 February 2017|url-status=live}}</ref> In 2001, [[Roots Manuva]] claimed that British hip hop "is more healthy" than American hip-hop, and is more about making the music than is it about exploiting wealth or hitting it rich.<ref>{{cite web|url=https://www.independent.co.uk/arts-entertainment/music/features/roots-manuva-hip-hop-gets-back-to-its-roots-662924.html|title=Roots Manuva: Hip hop gets back to its roots – Features, Music – The Independent|website=[[Independent.co.uk]]|url-status=bot: unknown|archive-url=https://web.archive.org/web/20090430124830/http://www.independent.co.uk/arts-entertainment/music/features/roots-manuva-hip-hop-gets-back-to-its-roots-662924.html|archive-date=30 April 2009|access-date=2016-08-09}}</ref>[[File:Flo-dan, Wiley (34882237).jpg|alt=|thumb|240x240px|Wiley was appointed a [[Order of the British Empire|Member of the Order of the British Empire]] (MBE) in the [[2018 New Year Honours]] for services to Music.]]Success followed [[The Streets]]' 2002 album ''[[Original Pirate Material]]'', and he became one of the first of the new breed of British hip hop artists to gain respectable sales, though his verbal style resulted in him being shunned by many artists in the scene. Such success has caused a surge in media exposure of other British hip hop acts. Welsh rap group [[Goldie Lookin Chain]] also achieved chart success with their tongue-in-cheek take on hip-hop. Key records such as [[Skinnyman]]'s ''[[Council Estate of Mind]]'', and [[Klashnekoff|Klashnekoff's]] ''[[The Sagas Of...]]'' were released, cementing the reputations of the artists and opening up the floor for new artists to emerge. Labels [[Low Life Records]], run by prominent political rapper [[Braintax]], and Young N' Restless started and became the starting point for many.<ref>{{Cite web|url=https://djbooth.net/features/2019-04-09-london-hip-hop-new-york-in-1994-15-year-anniversary|title=London Hip-Hop's New York in '94: The 15-Year Anniversary|last=Oliver|first=M.|website=DJBooth|date=9 April 2019 |access-date=2019-12-18|archive-url=https://web.archive.org/web/20191105153131/https://djbooth.net/features/2019-04-09-london-hip-hop-new-york-in-1994-15-year-anniversary|archive-date=5 November 2019|url-status=live}}</ref> At the same time, just as [[UK garage|garage]] was losing momentum, [[Grime (music genre)|grime]] was creating interest. Wiley's ''[[Treddin' on Thin Ice]]'' was a cornerstone of the genre, and one-time friend Dizzee Rascal won a Mercury Music Prize for his debut ''[[Boy in da Corner]]''. From then on, grime artists were the only MC's for interested record labels, and UK Hip-Hop's momentum dried up.[[File:Skepta & P Diddy (& Chipmunk) Backstage at orange rock corps.png|thumb|280x280px|Chipmunk (left) and Skepta (right) with American rapper [[Sean Combs]] in 2011. Combs has also given recognition to Stormzy.<ref>{{Cite web|url=http://grmdaily.com/diddy-shouts-out-stormzy|title=Diddy shouts out Stormzy|website=GRM Daily – Grime, Rap music and Culture|date=10 June 2018|url-status=live|archive-url=https://web.archive.org/web/20190510215716/http://grmdaily.com/diddy-shouts-out-stormzy|archive-date=10 May 2019|access-date=2019-09-17}}</ref>|alt=]]A new generation of young socially [[conscious hip-hop]] musicians emerged as a counter to the grime scene that many in the UK Hip Hop scene perceived as commercial. These rappers strived to bring attention to both positivity and lyricism as well as the injustices of war, gentrification and racism, following in the tradition of conscious rappers such as [[Nas]], [[Mos Def]] and [[Talib Kweli]]. Amongst this new generation included artists such as [[Klashnekoff]], [[Akala (rapper)|Akala]], [[Lowkey]] and the Poisonous Poets.

The mid-2000s saw the emergence of [[road rap]], a genre that took influences from American gangsta rap and focused on crime, gang, or violent themes. Road rap was pioneered by artists and groups such as [[PDC (rap group)|PDC]] and [[Giggs (rapper)|Giggs]]' SN1 crew.<ref>{{Cite web|url=https://pitchfork.com/features/grime-dubstep/7901-grime-dubstep/|title=Grime / Dubstep|website=Pitchfork|date=17 November 2010 |access-date=2019-12-18|archive-url=https://web.archive.org/web/20190424054128/https://pitchfork.com/features/grime-dubstep/7901-grime-dubstep/|archive-date=24 April 2019|url-status=live}}</ref>

By the late 2000s, [[Grime (music genre)|grime music]] had entered into a period of stagnation.<ref name=":3042">{{Cite web|url=https://www.anothermanmag.com/life-culture/10370/a-brief-history-of-grime-as-told-by-dj-target|title=A Brief History of Grime, as Told by DJ Target|last=AnotherMan|website=AnotherMan|date=12 June 2018 |access-date=2019-09-13|archive-url=https://web.archive.org/web/20190913222453/https://www.anothermanmag.com/life-culture/10370/a-brief-history-of-grime-as-told-by-dj-target|archive-date=13 September 2019|url-status=live}}</ref><ref name=":272">{{Cite news|url=https://www.newyorker.com/magazine/2018/10/01/the-surprising-survival-of-grime|title=The Surprising Survival of Grime|last=Hsu|first=Hua|magazine=The New Yorker|date=2018-09-24|access-date=2019-09-13|issn=0028-792X|archive-url=https://web.archive.org/web/20190909050605/https://www.newyorker.com/magazine/2018/10/01/the-surprising-survival-of-grime|archive-date=9 September 2019|url-status=live}}</ref> This led to an emergence of acts that, while influenced by or initially started out making grime, were moving into a more commercialised, hip-hop influenced form of music. Artists from this new wave included [[N-Dubz]], [[Tinchy Stryder]], [[Tinie Tempah]], and [[Chipmunk (rapper)|Chipmunk]] (later known as Chip) who emerged in the late 2000s to great commercial success. Tinchy Stryder scored two number ones with songs "[[Number 1 (Tinchy Stryder song)|Number 1]]" and "[[Never Leave You]]" and became the best-selling British solo artist of 2009.<ref>{{cite web |url=https://www.bbc.co.uk/music/reviews/fmq4 |title=Music – Review of Tinchy Stryder – Catch 22 |publisher=BBC |date=2009-08-17 |access-date=2014-02-24 |archive-url=https://web.archive.org/web/20160109182218/http://www.bbc.co.uk/music/reviews/fmq4 |archive-date=9 January 2016 |url-status=live }}</ref> The following year continued the success of the previous, with acts like [[Professor Green]] and [[Tinie Tempah]] breaking through to even bigger commercial success and also critical appreciation. The debut album from [[Tinie Tempah]] called ''[[Disc-Overy]]'' went to number one in the UK Albums Chart and was certified platinum on 1 March 2011.<ref>https://tileyard.co.uk/community/jump-off-tv/ Jumpoff.TV 5 February 2009 Retrieved 18 April 2024</ref> He also won a [[Brit Award]] for his number one single "[[Pass Out (song)|Pass Out]]". Rapper [[Plan B (musician)|Plan B]] found success with his 2010 Hip Hop and Soul fusion album ''[[The Defamation of Strickland Banks]]'', followed by the soundtrack album ''[[Ill Manors (album)|Ill Manors]]'' in 2012, both of which peaked at number 1 in the [[UK Albums Chart]]. In 2014, Scottish alternative hip-hop trio [[Young Fathers]] won the Mercury Music Prize for their album [[Dead]]. The album entered the UK chart at 35 after they won the award. [[Riz Ahmed]], also known as Riz MC, was featured in the song "[[Immigrants (We Get the Job Done)]]" in ''[[The Hamilton Mixtape]]'', which topped the [[Billboard 200|''Billboard'' 200]] chart in 2016.<ref>{{cite news|url=https://www.telegraph.co.uk/films/2016/12/19/rogue-one-star-riz-ahmed-shares-childhood-star-wars-drawings/|title=Rogue One star Riz Ahmed shares childhood Star Wars drawings: 'Keep your inner child alive'|work=The Daily Telegraph|date=19 December 2016|access-date=22 December 2016|archive-url=https://web.archive.org/web/20161221214501/http://www.telegraph.co.uk/films/2016/12/19/rogue-one-star-riz-ahmed-shares-childhood-star-wars-drawings/|archive-date=21 December 2016|url-status=live|last1=White|first1=Adam}}</ref> At the [[2017 MTV Video Music Awards]] (VMAs), "Immigrants" won the award for [[MTV Video Music Award for Best Video with a Social Message|Best Fight Against the System]].<ref name="vmas">{{cite web|url=http://people.com/music/mtv-vmas-complete-winners-list/|title=See the Complete MTV VMAs 2017 Winners List|work=People|access-date=20 September 2017|archive-url=https://web.archive.org/web/20170921020257/http://people.com/music/mtv-vmas-complete-winners-list/|archive-date=21 September 2017|url-status=live}}</ref>

=== 2010 and onwards ===
The early 2010s saw the emergence of UK [[afrobeats]], led by artists such as [[Mista Silva]], Kwamz, [[Fuse ODG]], and Timbo.<ref name=":12">{{Cite web|url=https://i-d.vice.com/en_uk/article/xwddaq/why-this-is-such-an-exciting-time-for-the-afrobeats-scene-in-the-uk|title=why this is such an exciting time for the afrobeats scene in the uk|last=McQuaid|first=Ian|date=2017-03-24|website=I-D|access-date=2019-07-21|archive-url=https://web.archive.org/web/20190721164205/https://i-d.vice.com/en_uk/article/xwddaq/why-this-is-such-an-exciting-time-for-the-afrobeats-scene-in-the-uk|archive-date=21 July 2019|url-status=dead}}</ref><ref name=":42">{{Cite web|url=https://www.thefader.com/2017/04/25/j-hus-fader-cover-story-interview-afrobeats|title=J Hus Is The Sound of Diaspora's Boomerang|website=The FADER|access-date=2019-07-21|archive-url=https://web.archive.org/web/20191108232841/https://www.thefader.com/2017/04/25/j-hus-fader-cover-story-interview-afrobeats|archive-date=8 November 2019|url-status=live}}</ref><ref name=":8">{{Cite web|url=https://www.vice.com/en/article/j-hus-interview-2017-common-sense/|title=No One Is Like J Hus|last1=Bassil|first1=Ryan|last2=Lewis|first2=Jake|date=2017-05-12|website=Vice|access-date=2019-07-21|archive-url=https://web.archive.org/web/20190722030122/https://www.vice.com/en_uk/article/53ndxk/j-hus-interview-2017-common-sense|archive-date=22 July 2019|url-status=live}}</ref> Around the same time, artists such as [[Sneakbo]] and Timbo were incorporating melodic rap and Caribbean influences into their music. The foundation set by these artists would later be a major influence on [[Afroswing]], a genre that emerged around 2014 derivative of UK afrobeats while carrying influences from [[grime music|grime]], [[dancehall]], [[hip hop music|hip hop]], and [[Contemporary R&B|R&B]].<ref name=":13">{{Cite web|url=https://www.complex.com/music/2018/01/a-brief-history-of-afro-tinged-british-rap|title=Saluting The Pioneers: A Brief History of Afro-Tinged Rap in the UK|website=Complex|access-date=2019-07-22|archive-url=https://web.archive.org/web/20190527045035/https://www.complex.com/music/2018/01/a-brief-history-of-afro-tinged-british-rap|archive-date=27 May 2019|url-status=live}}</ref>

[[UK drill]]<ref name=":0">{{Cite news|url=http://pigeonsandplanes.com/in-depth/2018/01/uk-drill-sl-harlem-spartans-67-essay|title=Get Familiar with UK Drill, the New Sound Exploding on the Streets of London|work=PigeonsandPlanes|access-date=2018-03-18|archive-url=https://web.archive.org/web/20180319090713/http://pigeonsandplanes.com/in-depth/2018/01/uk-drill-sl-harlem-spartans-67-essay|archive-date=19 March 2018|url-status=live}}</ref><ref name=":1">{{Cite news|url=http://www.dazeddigital.com/music/article/35706/1/uk-drill-artists-and-crews|title=Inside UK Drill, London's Hyper-Local DIY Sound|last=Dazed|date=2017-04-25|work=Dazed|access-date=2018-03-19|archive-url=https://web.archive.org/web/20180309135634/http://www.dazeddigital.com/music/article/35706/1/uk-drill-artists-and-crews|archive-date=9 March 2018|url-status=live}}</ref><ref name=":22">{{Cite news|url=http://www.factmag.com/2017/04/27/uk-drill-chicago-brixton/|title=From Chicago to Brixton: The Surprising Rise of UK Drill|date=2017-04-27|work=FACT Magazine: Music News, New Music.|access-date=2018-03-19|archive-url=https://web.archive.org/web/20180324130941/http://www.factmag.com/2017/04/27/uk-drill-chicago-brixton/|archive-date=24 March 2018|url-status=live}}</ref> is a subgenre of [[drill music]] and [[road rap]] that originated in the South London district of [[Brixton]] from 2012 onwards. Borrowing heavily from the style of [[Chicago]] [[drill music]], UK drill artists often rap about violent and hedonistic criminal lifestyles.<ref name=":3">{{Cite news|url=https://www.standard.co.uk/go/london/music/67-interview-this-is-not-a-gang-this-is-a-logo-this-is-a-company-this-is-a-brand-a3620276.html|title=67 Interview: 'This Is Not a Gang. This Is a Brand'|work=[[London Evening Standard]]|access-date=2018-03-19|archive-url=https://web.archive.org/web/20180319090523/https://www.standard.co.uk/go/london/music/67-interview-this-is-not-a-gang-this-is-a-logo-this-is-a-company-this-is-a-brand-a3620276.html|archive-date=19 March 2018|url-status=live}}</ref><ref name=":0" /> Typically, those who create this style of music are affiliated with gangs or come from socioeconomically-deprived neighbourhoods where crime is a way of life for many.<ref name=":0" /> UK drill music is closely related to road rap, a British style of gangsta rap that became popular in the years prior to the existence of drill.<ref name=":1" /><ref name=":22" /><ref name=":4">{{Cite news|url=https://www.vice.com/en/article/uk-gangsta-drill-road-rap-67-section-boyz-giggs/|title=Don't Call It Road Rap: When Drill, UK Accents and Street Life Collide|date=2017-06-14|work=Noisey|access-date=2018-03-19|archive-url=https://web.archive.org/web/20180319084907/https://noisey.vice.com/en_uk/article/gypwa7/uk-gangsta-drill-road-rap-67-section-boyz-giggs|archive-date=19 March 2018|url-status=live}}</ref> Musically, UK drill often exhibits violent language and provocative lyrics.<ref name=":3" />

The early 2010s also saw the emergence of an underground UK hip hop scene emulating the earlier wave of 2000s rappers such as Jehst, Task Force, King Kashmere, MysDiggi and Skinnyman. With complex lyrics and rhyme schemes and '90s New York [[boom bap]] influenced production, [[High Focus Records]] was instrumental in bringing this sound to a wider audience. 

The label was founded in 2010 by London rapper Fliptrix<ref name=":10">{{Cite web|url=https://nationofbillions.com/the-rise-rise-of-high-focus-records|title=The Rise & Rise of High Focus Records|website=A Nation of Billions|access-date=2020-01-21|archive-url=https://web.archive.org/web/20170619110810/https://nationofbillions.com/the-rise-rise-of-high-focus-records|archive-date=19 June 2017|url-status=live}}</ref> and key members of the larger High Focus crew have included [[The Four Owls]], Dirty Dike, [[Ocean Wisdom]], [[Jam Baxter]] and Dabbla. Artists from the label have managed to build a sizeable following despite remaining underground, having performed to crowds of 25,000+ across Europe,<ref name=":10" /> played the famous [[Reading and Leeds Festivals|Reading and Leeds festivals]] in the UK<ref>{{Cite web|url=https://www.gigwise.com/videos/94371/|title=NSFW: Dirty Dike talks drugs, dream jobs and getting a reaction|website=gigwise.com|access-date=2020-01-21}}</ref> and seen many tracks reaching multiple millions of views on YouTube.<ref>{{Cite web|url=https://www.youtube.com/channel/UCsdSVUYgClqB4zGU_yfQSAw|title=HighFocusTV|via=YouTube|access-date=2020-01-21|archive-url=https://web.archive.org/web/20191121211812/https://www.youtube.com/channel/UCsdSVUYgClqB4zGU_yfQSAw|archive-date=21 November 2019|url-status=live}}</ref> 

In 2015, The Four Owls collaborated with highly respected<ref>{{Cite web|url=https://www.redbullmusicacademy.com/lectures/dj-premier-you-know-my-steez|title=DJ Premier|website=redbullmusicacademy.com|access-date=2020-01-21|archive-url=https://web.archive.org/web/20191109201349/https://www.redbullmusicacademy.com/lectures/dj-premier-you-know-my-steez/|archive-date=9 November 2019|url-status=live}}</ref> US producer [[DJ Premier]] for their track ''Think Twice'' . [[Brit Awards|BRIT Award]] winning singer-songwriter [[Rag'n'Bone Man]] also released two albums on the label in 2011 and 2014 – "Put That Soul on Me" (a collaboration with Dirty Dike) and "Dog n Bone" with Four Owls member and rapper/producer Leaf Dog.<ref>{{Cite web|url=https://www.high-focus.com/home/artists/rag-n-bone-man/|title=Rag'n'Bone Man|last=Focus|first=High|website=Official Website of High Focus Records|access-date=2020-01-21|archive-url=https://web.archive.org/web/20190726092813/http://www.high-focus.com/home/artists/rag-n-bone-man/|archive-date=26 July 2019|url-status=live}}</ref> These albums are what eventually led to his signing with major label [[Columbia Records]], however Rag'n'Bone Man has continued to feature on High Focus records releases such as the track "Mask" from [[Jam Baxter]]'s album Touching Scenes in 2019.<ref>{{Cite web|url=https://www.wordplaymagazine.com/blog-1/2018/11/19/jam-baxter-mask-feat-ragnbone-man-amp-og-rootz-prod-by-chemo|title=Jam Baxter – Mask Feat. Rag'n'Bone Man & OG Rootz Prod. by Chemo|website=WORDPLAY|date=19 November 2018 |access-date=2020-01-21}}</ref>

[[Blah Records]] is also highly influential.<ref>{{Cite web |title=En Angleterre, le rap ne serait pas le même sans Blah Records et High Focus |url=https://www.vice.com/fr/article/en-angleterre-le-rap-ne-serait-pas-le-meme-sans-blah-records-et-high-focus/ |access-date=2022-04-04 |website=Vice.com |date=27 February 2019 |language=fr}}</ref> The label was founded by [[Lee Scott (rapper)]] and Molotov in 2006 and currently managed and owned by [[Lee Scott (rapper)|Lee Scott]] and Salar.<ref name=":99">{{Cite web|url=https://bleep.com/label/9208-blah-records|url-status=live|title=Blah Records on Bleep|archive-url=https://web.archive.org/web/20200308083819/https://bleep.com/label/9208-blah-records |archive-date=8 March 2020 }}</ref> Key members of the Blah family include Lee Scott, Salar, [[Black Josh]], Milkavelli, Jam Baxter and [[Cult of the Damned|Cult of The Damned]].

The mid-2010s saw the emergence of [[Abstract Orchestra]], a British hip hop Orchestra that "explore the shared territory between jazz and hip hop by taking modern classics such as Madvillain and J Dilla’s back catalogue and filtering them through classic arrangement techniques."<ref>{{cite web |url=https://qwest.tv/media/abstract-orchestra-the-shared-space-between-jazz-and-hip-hop/|title=Abstract Orchestra: The Shared Space Between Jazz and Hip Hop |access-date=26 January 2021 |publisher=qwest.tv }}</ref> The group is influenced by the style of hip hip associated with Detroit in the US and have recorded with [[Illa J]] and [[Slum Village]]. They perform with UK MC's Micall Parknsun, Joker Starr and [[Yungun]].

By 2014, grime music was also experiencing a resurgence.<ref>{{Cite web|url=http://www.independent.co.uk/student/student-life/music-film/grime-music-is-now-the-sound-of-british-youth-and-things-are-only-beginning-a6747216.html|title=Grime is the now sound of British youth – and things are only beginning|date=2015-11-24|website=The Independent|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003906/https://www.independent.co.uk/student/student-life/music-film/grime-music-is-now-the-sound-of-british-youth-and-things-are-only-beginning-a6747216.html|archive-date=19 December 2019|url-status=live}}</ref> While hip hop did not immediately benefit from this, the rise of grime has been credited for re-opening the doors for competing genres such as hip hop and afroswing that were also on the rise.<ref>{{Cite web|url=https://www.bbc.co.uk/news/newsbeat-45017057|archive-url=https://web.archive.org/web/20190509182724/https://www.bbc.co.uk/news/newsbeat-45017057|url-status=dead|archive-date=2019-05-09|title=Is grime dead? Or has it 'just gone back underground'? – BBC News|date=2019-05-09|access-date=2019-12-18}}</ref> Acts that would rise within the hip hop scene within the following years include [[Dave (rapper)|Dave]], [[Kojey Radical]], [[Slowthai]], [[Little Simz]], and [[Loyle Carner]].<ref>{{Cite web|url=https://www.dazeddigital.com/music/article/33396/1/meet-the-artists-shaping-the-uk-hip-hop-scene|title=Meet the artists shaping the UK hip hop scene|last=Dazed|date=2016-10-18|website=Dazed|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003837/https://www.dazeddigital.com/music/article/33396/1/meet-the-artists-shaping-the-uk-hip-hop-scene|archive-date=19 December 2019|url-status=live}}</ref><ref>{{Cite web|url=https://www.papermag.com/10-rising-uk-hip-hop-acts-you-should-be-listening-to-right-now-1427595393.html|title=10 Rising UK Hip Hop Acts You Should Be Listening to Right Now|date=2015-07-06|website=PAPER|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003844/https://www.papermag.com/10-rising-uk-hip-hop-acts-you-should-be-listening-to-right-now-1427595393.html|archive-date=19 December 2019|url-status=live}}</ref><ref>{{Cite web|url=https://djmag.com/news/dave-wins-2019-mercury-prize-debut-album-psychodrama|title=Dave wins the 2019 Mercury Prize with debut album 'Psychodrama'|date=2019-09-19|website=DJMag.com|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003854/https://djmag.com/news/dave-wins-2019-mercury-prize-debut-album-psychodrama|archive-date=19 December 2019|url-status=live}}</ref> Dave released a "Blackbox freestyle" in 2015 which helped him rise to prominence.<ref>{{Cite web|url=https://www.nme.com/blogs/nme-radar/dave-interview-rapper-2157944-2157944|title=Dave: the genre-splicing rapper talks meeting Drake and his debut album|date=2017-11-10|website=NME Music News, Reviews, Videos, Galleries, Tickets and Blogs {{!}} NME.COM|access-date=2019-12-18|archive-url=https://web.archive.org/web/20180724003807/https://www.nme.com/blogs/nme-radar/dave-interview-rapper-2157944-2157944|archive-date=24 July 2018|url-status=live}}</ref> The following year, Dave was noticed by Canadian rapper Drake, who later featured on a remix of his song "Wanna Know".<ref>{{Cite web|url=https://djbooth.net/features/2016-11-01-drake-impact-on-wanna-know|title=Does the Drizzy Effect Exist?|last=Bradley|first=Brent|website=DJBooth|date=10 November 2018 |access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003837/https://djbooth.net/features/2016-11-01-drake-impact-on-wanna-know|archive-date=19 December 2019|url-status=live}}</ref><ref>{{Cite news|url=https://www.theguardian.com/music/2017/mar/24/dave-the-streatham-rapper-getting-props-from-drake|title=A rapper called Dave: the 'normal' Streatham boy who's on Drake's radar|last=Collins|first=Hattie|date=2017-03-24|work=The Guardian|access-date=2019-12-18|issn=0261-3077|archive-url=https://web.archive.org/web/20191219003900/https://www.theguardian.com/music/2017/mar/24/dave-the-streatham-rapper-getting-props-from-drake|archive-date=19 December 2019|url-status=live}}</ref>
[[File:Skepta 2 F.I.B. 2016.jpg|alt=|thumb|303x303px|Skepta's [[Konnichiwa (Skepta album)|''Konnichiwa'']] (2016) won the Mercury Prize and was named the Best Album of 2016 by [[Apple Music]].]] [[File:Stormzy - Openair Frauenfeld 2019 05.jpg|thumb|200x200px|Stormzy's ''Gang Signs & Prayer'' is certified [[BPI certification|Platinum]] by the [[British Phonographic Industry]] (BPI).|alt=|left]] [[Stormzy]], an artist that came up out of the grime scene, released his debut album, ''[[Gang Signs & Prayer]]'', on 24 February 2017. The album was a mixture of grime, hip-hop, and R&B,<ref>{{Cite web|url=https://www.capitalxtra.com/features/facts/stormzy/debut-album/|title=Stormzy's debut album 'Gang Signs & Prayers' is released on 23rd February 2017|website=Capital Xtra|url-status=live|archive-url=https://web.archive.org/web/20180216204442/http://www.capitalxtra.com/features/facts/stormzy/debut-album/|archive-date=16 February 2018}}</ref> and was the first 'grime' album to reach number one on the [[UK Albums Chart]]. In February 2018, ''Gang Signs & Prayer'' won [[Brit Award for British Album of the Year|British Album of the Year]] at the [[2018 Brit Awards]]. He has reached number one on the [[UK Singles Chart]] a total of two times; firstly as part of "Artists for Grenfell" on 23 June 2017 with song "[[Bridge over Troubled Water (song)#Artists for Grenfell Tower charity single|Bridge Over Troubled Water]]", and secondly with his own solo single "[[Vossi Bop]]", which debuted at number-one upon its entry, ahead of "[[Me!]]" by [[Taylor Swift]] featuring [[Brendon Urie]] by some 500 combined sales.<ref name="Noisey">{{cite web|url=https://www.vice.com/en/article/stormzy-number-one-vossi-bop-stream-buy-2019/|title=Stream "Vossi Bop," Buy "Vossi Bop" and Get Stormzy to Number 1|website=[[Noisey]]|last=Mokoena|first=Tshepo|date=30 April 2019|access-date=3 May 2019|archive-url=https://web.archive.org/web/20190503204359/https://www.vice.com/en_uk/article/neanbb/stormzy-number-one-vossi-bop-stream-buy-2019|archive-date=3 May 2019|url-status=live}}</ref>

Skepta, who also emerged from the grime scene, began collaborating with American hip hop group [[ASAP Mob]]. He featured with [[ASAP Rocky]] on the song "[[Praise the Lord (Da Shine)]]", the second single from his third studio album ''[[Testing (album)|Testing]]'' on 26 June 2018.<ref>{{Cite web|url=https://www.revolt.tv/2018/5/31/20824909/the-story-behind-a-ap-rocky-s-praise-the-lord-da-shine-is-incredible|title=The story behind A$AP Rocky's "Praise the Lord (Da Shine)" is incredible|last=Bristout|first=Ralph|date=2018-05-31|website=REVOLT|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003854/https://www.revolt.tv/2018/5/31/20824909/the-story-behind-a-ap-rocky-s-praise-the-lord-da-shine-is-incredible|archive-date=19 December 2019|url-status=live}}</ref> It was the third collaboration between both artists, following Skepta's appearance on ''[[Cozy Tapes Vol. 1: Friends]]''<ref>{{Cite web|url=https://www.konbini.com/en/entertainment-2/asap-mob-drop-cozy-tapes-vol-1-featuring-skepta/|title=A$AP Mob Drop 'Cozy Tapes Vol. 1' Featuring Skepta And More|website=Konbini – All Pop Everything!|language=fr|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003849/https://www.konbini.com/en/entertainment-2/asap-mob-drop-cozy-tapes-vol-1-featuring-skepta/|archive-date=19 December 2019|url-status=live}}</ref> and ASAP Rocky's appearance on Skepta's ''Vicious EP'' in 2017, which also featured [[ASAP Nast]], [[Lil B]], and [[Smoke Boys|Section Boys]].<ref>{{Cite web|url=https://www.thefader.com/2017/10/30/skepta-drops-vicious-ep|title=Skepta drops surprise Vicious EP|website=The FADER|date=30 October 2017 |access-date=2019-12-18|archive-url=https://web.archive.org/web/20190710125338/https://www.thefader.com/2017/10/30/skepta-drops-vicious-ep|archive-date=10 July 2019|url-status=live}}</ref> The song was successful in a number of countries, peaking at number 45 on the [[Billboard Hot 100|''Billboard'' Hot 100]] and number 18 on the [[UK Singles Chart]]. It was later certified [[RIAA certification|Platinum]] by the [[Recording Industry Association of America]] (RIAA) and gold by the [[British Phonographic Industry]] (BPI). His 2016 album ''[[Konnichiwa (Skepta album)|Konnichiwa]]'' won a Mercury Prize and had earned a gold certification in the UK.<ref>[https://www.allmusic.com/artist/skepta-mn0000558243]</ref>

In 2017, Dave did a freestyle on American radio station [[KPWR|Power 106 Los Angeles]] which has accumulated over 1,000,000 views on [[YouTube]].<ref>{{Cite web|url=https://www.hotnewhiphop.com/up-and-coming-uk-rapper-dave-kills-la-leakers-freestyle-news.31111.html|title=Up-And-Coming UK Rapper Dave Kills LA Leakers Freestyle|website=HotNewHipHop|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191219003846/https://www.hotnewhiphop.com/up-and-coming-uk-rapper-dave-kills-la-leakers-freestyle-news.31111.html|archive-date=19 December 2019|url-status=live}}</ref> In 2018, Dave achieved his first UK number-one hit with "[[Funky Friday]]" which featured British rapper [[Fredo (British rapper)|Fredo]].<ref>{{Cite web|url=https://www.officialcharts.com/chart-news/daves-funky-friday-ft-fredo-debuts-at-number-1-im-speechless-right-now-__24437/|title=Dave "speechless" as Funky Friday debuts at Number 1|website=officialcharts.com|access-date=2019-12-18|archive-url=https://web.archive.org/web/20190107163221/https://www.officialcharts.com/chart-news/daves-funky-friday-ft-fredo-debuts-at-number-1-im-speechless-right-now-__24437/|archive-date=7 January 2019|url-status=live}}</ref> Dave's debut album, ''[[Psychodrama (album)|Psychodrama]]'' (2019), debuted at number one on the [[UK Albums Chart]] and became the most-streamed first-week British rap album in the UK with a total of 23.6 million streams. The album was highly acclaimed and won Dave a [[Mercury Prize]].<ref>{{Cite news|url=https://www.theguardian.com/music/2019/sep/19/dave-wins-mercury-prize-2019-album-psychodrama|title=Mercury prize 2019: rapper Dave wins for 'exceptional' Psychodrama|last=Snapes|first=Laura|date=2019-09-19|work=The Guardian|access-date=2019-12-18|issn=0261-3077|archive-url=https://web.archive.org/web/20191216113634/https://www.theguardian.com/music/2019/sep/19/dave-wins-mercury-prize-2019-album-psychodrama|archive-date=16 December 2019|url-status=live}}</ref>

Slowthai released his debut studio album, ''[[Nothing Great About Britain]],'' in 2019. The album was nominated for the [[Mercury Prize]]. He performed at the 2019 Mercury Prize ceremony, where he controversially held a fake severed head of British Prime Minister [[Boris Johnson]] on stage.<ref>{{Cite web|url=https://news.sky.com/story/rapper-slowthai-holds-up-fake-boris-johnson-head-on-stage-at-mercury-prize-ceremony-11814567|title=Rapper slowthai holds up fake Boris Johnson head on stage at Mercury Prize ceremony|publisher=Sky News|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191206151253/https://news.sky.com/story/rapper-slowthai-holds-up-fake-boris-johnson-head-on-stage-at-mercury-prize-ceremony-11814567|archive-date=6 December 2019|url-status=live}}</ref> Little Simz also released ''[[Grey Area (album)|Grey Area]]'' in 2019 to much acclaim.<ref>{{Cite web|url=https://www.nme.com/reviews/little-simz-grey-area-review-2453838|title=Little Simz – 'Grey Area' review|date=2019-02-25|website=NME Music News, Reviews, Videos, Galleries, Tickets and Blogs {{!}} NME.COM|access-date=2019-12-18|archive-url=https://web.archive.org/web/20191128041322/https://www.nme.com/reviews/little-simz-grey-area-review-2453838|archive-date=28 November 2019|url-status=live}}</ref>

==Road rap<!--'Road rap' redirects here-->==
'''Road rap'''<!--boldface per WP:R#PLA--> (also known as '''British gangsta rap''') is a genre of music pioneered in [[South London]], primarily in [[Brixton]] and [[Peckham]].<ref name=":6">{{Cite web|url=https://www.vice.com/en/article/tiny-boost-comeback-interview-2018/|title=Tiny Boost Is Rapping for All the Streets and the People in Them|last1=Bassil|first1=Ryan|last2=Garcia|first2=Francisco|date=2018-11-13|website=Vice|access-date=2019-08-04|archive-url=https://web.archive.org/web/20190804033250/https://www.vice.com/en_uk/article/nepwa8/tiny-boost-comeback-interview-2018|archive-date=4 August 2019|url-status=live}}</ref><ref name=":7">{{Cite web|url=https://www.factmag.com/2015/05/27/20-essential-road-rap-tracks/|title=20 Essential Road Rap Tracks|last=aidanbnsn|date=2015-05-27|website=FACT Magazine: Music News, New Music.|access-date=2019-08-04|archive-url=https://web.archive.org/web/20190804033249/https://www.factmag.com/2015/05/27/20-essential-road-rap-tracks/|archive-date=4 August 2019|url-status=live}}</ref> The genre was pioneered by groups such as [[PDC rap group|PDC]], SMS, SN1, North Star, MashTown and [[U.S.G.]] and artists such as [[Giggs (rapper)|Giggs]] and [[K Koke]] and later [[Nines (rapper)|Nines]] and [[Sneakbo]].<ref>{{Cite web|url=https://pitchfork.com/features/grime-dubstep/7901-grime-dubstep/|title=Grime / Dubstep|website=Pitchfork|date=17 November 2010 |access-date=2019-12-21|archive-url=https://web.archive.org/web/20190424054128/https://pitchfork.com/features/grime-dubstep/7901-grime-dubstep/|archive-date=24 April 2019|url-status=live}}</ref><ref name=":2">{{Cite web|url=https://www.complex.com/music/2019/01/influential-uk-rap-mixtapes/|title=7 Mixtapes That Laid UK Rap's Foundations|website=Complex|access-date=2019-12-21|archive-url=https://web.archive.org/web/20191221074920/https://www.complex.com/music/2019/01/influential-uk-rap-mixtapes/|archive-date=21 December 2019|url-status=live}}</ref> The genre came to the fore as a backlash against the perceived commercialisation of [[Grime (music)|grime]] in the mid-late 2000s in London.<ref name="factmag.com">{{cite web |url=http://www.factmag.com/2012/04/27/end-of-the-road-the-rise-of-road-rap-and-the-uncertain-future-of-the-hardcore-continuum/ |title=End of the road: the rise of road rap and the uncertain future of the hardcore continuum |publisher=Factmag.com |date=2012-04-27 |access-date=2015-06-17 |archive-url=https://web.archive.org/web/20140812053450/http://www.factmag.com/2012/04/27/end-of-the-road-the-rise-of-road-rap-and-the-uncertain-future-of-the-hardcore-continuum/ |archive-date=12 August 2014 |url-status=live }}</ref> The genre came to prominence around 2007 with the rise of Giggs.<ref name=":2" /> Road rap retained the explicit depictions of violence and British gang culture found in some early grime music and combines it with a musical style more similar to American [[gangsta rap]] than the [[Sound system (DJ)|sound system]] influenced music of grime, dubstep, UK garage, jungle, reggae, and dub.<ref name="theguardian.com">{{cite web |author=Dan Hancox |url=https://www.theguardian.com/music/2011/aug/12/rap-riots-professor-green-lethal-bizzle-wiley |title=Rap responds to the riots: 'They have to take us seriously'  |work=The Guardian |date=12 August 2011 |access-date=2015-06-17 |archive-url=https://web.archive.org/web/20161226150625/https://www.theguardian.com/music/2011/aug/12/rap-riots-professor-green-lethal-bizzle-wiley |archive-date=26 December 2016 |url-status=live }}</ref>

Gangs played a large part in the genre, with gangs such as the [[Peckham Boys]] (with its various sets such as SN1, PYG, and OPB), based in Peckham and [[GAS Gang]], based in Brixton, with members becoming notable in the road rap scene during the 2000s.<ref name=":7" /><ref>{{Cite web|date=2012-12-17|title=Peckham Boys (PB) - www.londonstreetgangs.com|url=https://sites.google.com/site/londonstreetgangs/gang-lists/south-london-gangs/peckham-boys-black-gang|url-status=dead|archive-url=https://archive.today/20121217145757/https://sites.google.com/site/londonstreetgangs/gang-lists/south-london-gangs/peckham-boys-black-gang|archive-date=2012-12-17|access-date=2019-08-04|website=archive.fo}}</ref><ref name=":6" />

The road rap scene centres around mixtape releases and YouTube videos with some of the genres more popular acts getting mainstream recognition.<ref name="factmag.com" /> The genre has been criticised for the relentless nihilism and violence in its lyrics as well as its links to gangs and gun crime with many rappers serving prison sentences.<ref name="theguardian.com" /><ref>[http://djsemtex.com/blog/2010/01/08/giggs-nme-interview/] {{webarchive|url=https://web.archive.org/web/20120521235215/http://djsemtex.com/blog/2010/01/08/giggs-nme-interview/|date=21 May 2012}}</ref><ref>{{cite web |url=https://www.mirror.co.uk/news/uk-news/rapper-kyze-jailed-for-shooting-178357 |title=Rapper Kyze jailed for shooting – Mirror Online |work=Daily Mirror |date=2011-04-18 |access-date=2015-06-17 |archive-url=https://web.archive.org/web/20180515043730/https://www.mirror.co.uk/news/uk-news/rapper-kyze-jailed-for-shooting-178357 |archive-date=15 May 2018 |url-status=live }}</ref> In keeping with grime, road rap has suffered from pre-emptive policing with Giggs claiming that the [[Metropolitan Police]] have set out to deny him the opportunity to make a living from music having banned him from touring.<ref>{{cite web |author=Sam Wolfson |url=https://www.theguardian.com/music/2013/oct/05/giggs-when-will-it-stop?CMP=twt_gu |title=Giggs: prison, police harassment, cancelled tours – When Will It Stop  |work=The Guardian |date = 5 October 2013|access-date=2015-06-17 |archive-url=https://web.archive.org/web/20160826122022/https://www.theguardian.com/music/2013/oct/05/giggs-when-will-it-stop?CMP=twt_gu |archive-date=26 August 2016 |url-status=live }}</ref> In 2011, Stigs was served the first ever gang injunction that banned him from rapping about anything that may encourage violence.<ref>{{Cite news|url=https://www.theguardian.com/music/2018/jun/22/the-war-against-rap-censoring-drill-may-seem-radical-but-its-not-new|title=The war against rap: censoring drill may seem radical but it's not new|last=Hancox|first=Dan|date=2018-06-22|work=The Guardian|access-date=2019-08-04|issn=0261-3077|archive-url=https://web.archive.org/web/20190721161711/https://www.theguardian.com/music/2018/jun/22/the-war-against-rap-censoring-drill-may-seem-radical-but-its-not-new|archive-date=21 July 2019|url-status=live}}</ref>

In the early 2010s, the American genre [[Drill music|drill]] began to emerge in the UK, pushed by groups such as 150, [[67 (rap group)|67]], and [[Section Boyz]].<ref>{{Cite web|url=https://www.vice.com/en/article/uk-gangsta-drill-road-rap-67-section-boyz-giggs/|title=Don't Call It Road Rap: When Drill, UK Accents and Street Life Collide|last=McQuaid|first=Ian|date=2017-06-14|website=Vice|access-date=2019-08-04|archive-url=https://web.archive.org/web/20190718211023/https://www.vice.com/en_uk/article/gypwa7/uk-gangsta-drill-road-rap-67-section-boyz-giggs|archive-date=18 July 2019|url-status=live}}</ref> [[UK drill]] has been referred to as subgenre of road rap due to the influence it's had on the genre.<ref>{{Cite web|url=https://www.redbull.com/gb-en/different-types-of-hip-hop-guide|title=A guide to the many styles of hip-hop, from hyphy to horrorcore|website=Red Bull|date=15 March 2019 |access-date=2019-08-04|archive-url=https://web.archive.org/web/20190804033246/https://www.redbull.com/gb-en/different-types-of-hip-hop-guide|archive-date=4 August 2019|url-status=live}}</ref><ref>{{Cite web|url=https://www.bigissue.com/culture/music/police-have-banned-a-london-rap-group-from-making-drill-music/|title=Police have banned a London rap group from making drill music|date=2018-06-19|website=The Big Issue|access-date=2019-08-04|archive-url=https://web.archive.org/web/20190804033249/https://www.bigissue.com/culture/music/police-have-banned-a-london-rap-group-from-making-drill-music/|archive-date=4 August 2019|url-status=live}}</ref><ref>{{Cite web |last=Hunter-Tilney |first=Ludovic |date=2019-02-06 |title=London rapper Fredo on the neighbourhood that shaped his music |url=https://www.ft.com/content/5355f564-288a-11e9-88a4-c32129756dd8 |url-status=live |archive-url=https://web.archive.org/web/20190804033248/https://www.ft.com/content/5355f564-288a-11e9-88a4-c32129756dd8 |archive-date=4 August 2019 |access-date=2019-08-04 |website=Financial Times}}</ref> Road rap also went on to influence [[afroswing]], which emerged in the mid-2010s.<ref name=":1" />

==Trap scene==
In several interviews, [[M Huncho]] has described his more tone-down, melodic style and moderately humbler approach when it comes to lyrics as his own derivative take on UK [[trap music]], in a genre he has personally dubbed "Trap Wave".<ref>{{cite news|url=https://nationofbillions.com/welcome-to-the-trapwave-m-huncho|work=A Nation of Billions|title=Welcome to the TrapWave: M Huncho|date=29 May 2018|access-date=4 June 2019|archive-url=https://web.archive.org/web/20190604120145/https://nationofbillions.com/welcome-to-the-trapwave-m-huncho|archive-date=4 June 2019|url-status=live}}</ref> Wolverhampton artist [[Scarlxrd]] implements an energetic aesthetic and tone with explosively brazen screaming vocals, and dark yet reflectively intense and meaningful lyricism in an essentially self-pioneered style known as "[[Rap metal#Trap metal|trap-metal]]" or "ragecore"; a fusion of trap music and screaming vocals. Scarlxrd has cited some of his main inspirations and influences as including the likes of [[Eminem]], [[Bring Me the Horizon]], [[Limp Bizkit]], [[DMX (rapper)|DMX]], [[Slipknot (band)|Slipknot]], [[Travis Scott]] and [[Linkin Park]], among others.<ref>{{cite news|date=27 February 2019|title=SCARLXRD: "BRING ME THE HORIZON'S LEGACY INSPIRES ME"|work=Kerrang|url=https://www.kerrang.com/the-news/scarlxrd-bring-me-the-horizons-legacy-inspires-me/|url-status=live|access-date=6 August 2019|archive-url=https://web.archive.org/web/20190806082026/https://www.kerrang.com/the-news/scarlxrd-bring-me-the-horizons-legacy-inspires-me/|archive-date=6 August 2019}}</ref><ref>{{cite news|date=25 May 2019|title=Scarlxrd Ditches YouTuber Lifestyle and His Black Mask for Screamo Success|work=XXL|url=https://www.xxlmag.com/video/2019/05/scarlxrd-interview/|url-status=live|access-date=6 August 2019|archive-url=https://web.archive.org/web/20190519003815/https://www.xxlmag.com/video/2019/05/scarlxrd-interview/|archive-date=19 May 2019}}</ref><ref>{{cite news|date=12 July 2018|title=SCARLXRD – interview: "My style is a mix of Eminem, Travis Scott and Slipknot" (05.2018) – YouTube|publisher=PopkillerTV|url=https://www.youtube.com/watch?v=9ZSgIYzwOYw}}</ref>

==Backlash against commercialisation==
Since grime's post-millennial boom period coincided with UK hip-hop's, the eagerly anticipated commercial breakout of the latter did not happen. Instead, acts such as [[Tinchy Stryder]], [[Tinie Tempah]], [[N-Dubz]] and [[Chip (rapper)|Chip]] were signed to major labels and their traditional sound tweaked to fit a pop sensibility. However the lineage of these, and many UK rappers, is unquestionably grime rather than UK hip-hop.

There is a common belief within the underground hip hop community that true hip hop is music relevant primarily to the disenfranchised listeners, rather than the mass market. Because of the belief that mainstream acts are paid large sums of money by the major labels to make music tailored to the current mass market, these artists often face a backlash and accusations of 'selling out' from the underground community.<ref>{{cite news|title=British hip-hop heads out of the underground|url=https://www.independent.co.uk/arts-entertainment/music/features/british-hip-hop-heads-out-of-the-underground-1958279.html|access-date=10 October 2016|work=The Independent|date=30 April 2010|archive-url=https://web.archive.org/web/20161010215230/http://www.independent.co.uk/arts-entertainment/music/features/british-hip-hop-heads-out-of-the-underground-1958279.html|archive-date=10 October 2016|url-status=live}}</ref>

==Media==
The growth of British hip hop was given a boost when in 2002, the BBC launched a digital radio station [[BBC Radio 1Xtra|1Xtra]] devoted to "new black music" including hip hop, [[Contemporary R&B|R&B]], [[Soul music|soul]], [[UK garage]], [[dancehall]], [[Grime music|grime]] and drum and bass,<ref>{{cite web |url=https://www.bbc.co.uk/1xtra/ |title=BBC Website: 1xtra |access-date=1 November 2006 |archive-url=https://web.archive.org/web/20061104060217/http://www.bbc.co.uk/1xtra/ |archive-date=4 November 2006 |url-status=live }}</ref> however 1Xtra does not play exclusively British hip hop. The cable and satellite channel, Channel AKA (formerly Channel U, now known as [[Now 70s]]) also had the profile of British hip hop and grime.
YouTube was also a very important outlet for upcoming and significant artists. Channels include [[Link Up TV]], [[GRM Daily]], [[SB.TV]], Pressplay Media and [[Mixtape Madness]].

==Women==
Women have contributed to hip hop's evolution in Britain from the beginning.<ref>Chang, Jeff. "Future Shock", "Future Shock", January 2004. Retrieved 14 March 2008.</ref> Pioneering British female rappers have included [[Cookie Crew]], [[She Rockers]], [[Wee Papa Girl Rappers]], and [[Monie Love]]. [[Neneh Cherry]], born in Stockholm, moved to England when she was 14 years old, and contributed to early British hip hop. ''[[Raw Like Sushi]]'' (1989) was solely produced by British producers and was a massive hit in both the UK and US. Cherry continues to produce and release music today.

Contemporary female British rappers include [[Alesha Dixon]], [[Baby Blue (rapper)|Baby Blue]], [[C-Mone]], [[Envy (English rapper)|Envy]], [[Estelle (musician)|Estelle]], [[Lady Leshurr]], [[Lady Sovereign]], [[Little Simz]], [[M.I.A. (rapper)|M.I.A.]], [[Nadia Rose]], [[Shystie]], [[NoLay]], [[Stefflon Don]], Mercury prize winners [[Ms. Dynamite]] and [[Speech Debelle]] and music producer [[Mizz Beats]].<ref>{{cite web |url=http://www.britishcouncil.org/usa-arts-music-women-in-hip-hop-feature.htm |title=Our work in arts |publisher=British Council |access-date=2014-02-24 |archive-url=https://web.archive.org/web/20080102062725/http://www.britishcouncil.org/usa-arts-music-women-in-hip-hop-feature.htm |archive-date=2 January 2008 |url-status=live }}</ref>

Women in hip hop often confront a large amount of sexist stereotyping; however some female British rappers such as Lady Sovereign and M.I.A. have achieved success both in the UK and US. Artists such as Ms Dynamite, M.I.A. and Speech Debelle have also become known for political and social commentary in their music. Singer, songwriter and rapper Estelle said of the difficult position of female rappers: "I think they get a tough ride because some of them don't see themselves above and beyond the bullshit and no one's really given them that break."<ref>{{cite web|last1=Adabra|first1=Michelle|title=Interview – Estelle|url=https://www.britishhiphop.co.uk/features/interviews/estelle.html|website=britishhiphop.co.uk|date=5 October 2007|access-date=10 October 2016|archive-url=https://web.archive.org/web/20190419194856/https://www.britishhiphop.co.uk/features/interviews/estelle.html|archive-date=19 April 2019|url-status=live}}</ref>

==See also==
*[[Afroswing]]
*[[Drill music|Drill]]
*[[Gangsta rap]]
*[[Grime (music)|Grime]]
*[[Hip hop music|Hip hop]]
*[[Music of the United Kingdom]]
*[[Scottish hip hop|Scottish hip-hop]]
*[[Trap music|Trap]]
*[[UK drill]]
*[[UK garage]]

==References==
{{Reflist}}

==External links==
*[http://www.spifftv.com Source for UK hip hop artists]

{{hiphop}}
{{Music of the United Kingdom}}
{{Black British topics}}

[[Category:British hip-hop| ]]
[[Category:Hip-hop genres]]
[[Category:English styles of music]]
[[Category:British styles of music]]