UK rap, also known asBritish hip-hop orUK hip-hop orBritish rap, is amusic genre and culture that covers a variety of styles ofhip-hop made in theUnited Kingdom.^[2][3] 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.^[4]It is generally classified as one of a number of styles ofR&B/hip-hop.^[5][6][7][8]

British hip-hop can also be referred to asBrit-hop, a term coined and popularised mainly byBritish Vogue magazine and theBBC.^[9][10][11] British hip-hop was originally influenced by thedub/toasting introduced to the United Kingdom by Jamaican migrants in the 1950s–70s,^[12] who eventually developed uniquely influenced rapping (or speed-toasting) in order to match the rhythm of the ever-increasing pace and aggression of Jamaican-influenceddub in the UK.

Toasting andsoundsystem cultures were also influential in genres outside of hip-hop that still includedrapping – such asgrime,jungle, andUK garage.^[13][14]

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

..."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.^[3]

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 asDerek B and later the birth oftrip-hop, from the 1980s until the early 2010s UK rap made up a small percentage of album sales in the domestic market.^[15][16] Performers saw wider success in the 2020s, includingStormzy headliningGlastonbury Festival,Dave releasing back-to-back UK number one albums withPsychodrama followed byWe're All Alone in This Together, andLittle Simz winning theMercury Prize.^[17][15]

As in the US, British hip-hop emerged as a scene fromgraffiti andbreakdancing, and then through to DJing andrapping 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 diverseethnic groups in Britain tend not to live insegregated areas, even in areas with a high percentage of non-white individuals. Such places allow youth to shareculture with one another, including musicalgenres such as hip-hop.^[18]

Cross pollination through migratingWest Indians helped develop a community interested in the music. The integration ofsound systems represent a distinctBritish Caribbean influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring this sound to other venues creating aclub culture.^[19] 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" byNewtrament (Jive Records, 1983).^[20] Dizzy Heights was the first MC to be signed to a major label.^[21] Two singles from 1980 precede both of these however, namely Allen & Blewitt's novelty record "Chip Shop Wrapping", released in 1980, a parody ofThe Sugarhill Gang's "Rapper's Delight", and Bo Kool's "Money (No Love)". The instrumental for "Money (No Love)" was produced byFunk 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 fromdub music.^[22][23]

In Scotland, actor and stand-up comedianJohnny Beattie released "The Glasgow Rap" in 1983, receiving some chart success at the time. He later claimed to be "Scotland's first rap star".^[24][25] This was one of several Britishnovelty orcomedy hip-hop singles which hit the UK charts during the 1980s, including "Wikka Wrap" bythe Evasions, "Snot Rap" byKenny Everett, "'Ullo John! Gotta New Motor?" byAlexei Sayle, "Rat Rappin'" byRoland Rat, and later in the decade, "Stutter Rap (No Sleep til Bedtime)" byMorris Minor and the Majors and "Loadsamoney" byHarry Enfield.^[26]

There were also early pop records which dabbled with rap – such asAdam and the Ants' "Ant Rap" (CBS, 1981) andWham!'s "Wham Rap! (Enjoy What You Do)" (Inner Vision, 1982) — but these are often considered pop appropriations of US rap.^[27] Punk bandthe Clash had earlier dabbled with rap on the single "The Magnificent Seven" from their albumSandinista! (CBS, 1980), and a later single "This Is Radio Clash" (1981).^[28] Even earlier than this, in 1979,Ian Dury and the Blockheads released "Reasons to Be Cheerful (Part 3)", another record with influences from hip-hop.^[29]

ThenSex Pistols managerMalcolm McLaren's "Buffalo Gals" (Charisma, 1982), featuring the New York hip-hop groupWorld's Famous Supreme Team, was the breakthrough hit that introduced the genre to the United Kingdom^[30] — McLaren'sDuck 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 assampling andscratching. McLaren even included a song referencing the 'Double Dutch' dance that was popular among breakdancing crews in New York at the time.^[31]

Over the next few years, more UK hip-hop andelectro music was released:Street Sounds Electro UK (Street Sounds, 1984), which was produced byGreg Wilson and featured an early appearance from MC Kermit, who later went on to form the Wilson producedRuthless Rap Assassins;The Rapologists' "Kids Rap/Party Rap" (Billy Boy, 1984) and Grandmaster Richie Rich's "Don't Be Flash" (Spin Offs, 1985).^[32] Releases were still few and far between, and the scene remained predominantly underground.

Although record labels began to take note of theunderground 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 ofpirate radio stations around the country. Mainstream radio did play British hip-hop on occasion, supported by such well-known DJs asDave Pearce,Tim Westwood, Steve Barker^{[citation needed]} andJohn Peel.^[30][33][34]A significant development in early UK rap was the nationwide Def Jam ’87 Tour, which featuredLL Cool J (billed as the headliner),Eric B. & Rakim, and a then-emergingPublic Enemy. In an interview forWhat Do You Call It? From Grassroots to the Golden Era of UK Rap (2024), DJ, photographer, and broadcasterNormski described the experience to David Kane: “You’ve never heard anything so loud. We heard the records, but we’ve never seen it with so much ferocity in the flesh. By the end of the night, everyone was so pumped. That would have inspired everyone to go and do something badass.”^[35]

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 – anotherintegral 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 inLondon 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 theMetropolitan Line. Almost as significantly, just whensubway 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'sBad 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 asDerek 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 adisenfranchised Britishconstituency 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 Britishsemantics,syntax anddialecticallinguistic praxis and practices —Rodney P of theLondon Posse deliberately chose a London accent^{[clarification needed]} – although many succeeded only in adopting a slurred hybrid that located the rap "somewhere in the middle of the Atlantic Ocean".^[36]

The first record label devoted to releasing UK hip-hop acts was founded in 1986.Simon Harris'Music of Life label was home to rapperDerek B, the first UK rapper to achieve chart success. He even collaborated withPublic Enemy on his albumBullet from a Gun^[37] and was the first British rapper to appear onTop of the Pops.^[38]

Building on Derek B's success,Music of Life went on to sign groups such asHijack, theDemon Boyz,Hardnoise (later Son of Noise) andMC Duke. TheirHard as Hell series mixed homegrown talent like Thrashpack and theShe Rockers with US artists such asProfessor Griff. Music of Life was swiftly followed by other labels such asMango Records and Kold Sweat. Another successful British hip-hop artist that emerged from Music of Life wasAsher D, whose Jamaican origins showed through in his vocal style. In 1988, in collaboration withDaddy Freddy, Asher D released one of the first hip-hopdancehall fusion albums,Ragamuffin Hip-Hop.^[39]

Moving away from its US roots, British hip-hop started to develop its own sounds: acts likeHijack, II Tone Committee, Eastborm, Killa Instinct,Hardnoise, andSilver Bullet developed a fast andhardcore style (often referred to as Britcore^[39]), while many other acts took influences from elsewhere. Britcore acts were amongst the first to receive wide-spread attention acrosscontinental Europe.^[39]Caveman andOutlaw Posse developed a jazz influenced style, whilst MC Mell'O' mixedjazz and hardcore.London Posse,Black Radical Mk II and DJ Ruf Cut And Tuf C were more influenced byreggae anddisco whilst theWee Papa Girl Rappers,Cookie Crew andMonie Love achieved chart success with more radio-friendly hip-hop. However, despite the chart success of some British-born hip-hop artists – for exampleMonie Love,Slick Rick,Young MC andMF 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"^[40] Their song "The Rhythm I Give 'Em" made the UK Top 10 Hip-hop chart.

In 1987,Positive Beat Records^[41] 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^[42] with the Various Artists'Known 2 Be Down^[43] album. This featured Sir Drew (of KREW andNewtrament), MC Flex,She Rockers, Rapski and more of West London's finest rap talents.

Other notable labels at the time includedLiberty Grooves^[44] in Tooting, South London. The label itself started in late 1989 with the first release in 1990 by Whirlwind D & Johnny F ofSolid n Mind. Other artists includedGutter Snypes,^[45] True Style andDJ Noize. Liberty Grooves was also a shop and many notable artists such as MC Mell O andBraintax would perform there.

In 1988, Rapski released "The Connection" on 12".^[46] The track was taken fromKnown 2 Be Down and was an early example of mixing hip-hop andreggae 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 onITV in 1991.

A mindset began to develop – typified by theGunshot tune "No Sell Out" (1991), orSon 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's chart success was applauded due to an uncompromisingly rapid delivery, whereas Derek B andRebel 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) andOverlord X, who cut aDiscomix withJah Shaka — but many distinct scenes developed nationally.

Birmingham and the West Midlands gave rise toCredit 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 theirindie rock crossover sound. Leeds spawnedBraintax and Breaking the Illusion (who together foundedLow Life Records) as well asNightmares on Wax. Greater Manchester gave birth to theRuthless Rap Assassins, Krispy 3 (later Krispy), theKaliphz,Jeep Beat Collective andMC 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 came over in 1984 along with graffiti legends theTats Cru andRock Steady Crew. Bristol (specifically theSt. Pauls area) produced The Wild Bunch (later better known asMassive Attack), andNellee Hooper who went on to produce forSoul II Soul, as well as cuttingdubplatediscomixes withroots reggae artists,Horace Andy andMad Professor. The city later became the home oftrip hop with artists likeTricky andPortishead.

Caveman signed to a major label —Profile Records, the label home ofRun–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 byRadio 1 for using a sound clip from theNational Front.

In 1991,Hijack releasedThe Horns ofJericho (Rhyme Syndicate Records, 1991) onIce-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.^[47]

British hip-hop was affected by the record industry clamping down onsampling, 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 wasMilton Keynes groupthe Criminal Minds. Their first two releases, the 1990 mini-albumGuilty as Charged and a 1991 EPTales from the Wasteland were bogged down by potential sample clearance problems and thus were only ever made available in small numbers. Asbreakbeat 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.^[48]

The UK hip-hop boom never achieved its predicted commercial success. Hijack'sThe 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 toJungle music, a fusion of breakbeat hardcore, dub,dancehall,ragga, hip-hop andreggae, profoundly influenced by the rhythmic dynamics ofKing Tubby's andScientistdiscomixes and the spatial reverberations ofJah Shaka andLloyd 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 exampleMassive Attack^[49] withtrip hop, orGalliano,Us3 andUrban Species withacid jazz.

In the period between 1992 and 1995, the only groups to make much impact were Gunshot andthe Brotherhood. Gunshot's 1992 albumPatriot 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 calledBrotherhood EP, as a white label in 1991. They went on to releaseWayz of the Wize in 1992, thenUntitled 93 andXXIII in 1993, andHip 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 theTim Westwood show and DJ 279's show onChoice 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.

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 astrip hop and began making inroads into the US market.^[50]

As the old rappers left the scene, a new generation, raised on hip-hop andelectronica, was coming of age:The Herbaliser releasedRemedies (Ninja Tune, 1995),Mr. Scruff released the "Frolic EP Pt 1" (Pleasure Music, 1995),Mark B released "Any More Questions?" (Jazz Fudge, 1995) andDJ Skitz released "Where My Mind Is At/Blessed Be The Manor" (Ronin Records, 1996) featuring a young rapper calledRoots 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, likeMark Rae'sGrand Central (home to Aim, Rae & Christian, and Fingathing, among others) orDJ Vadim's Jazz Fudge. Increasingly, these artists managed to avoid the issues surrounding sampling by making music themselves (bands such as theStereo 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,^[51] 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 albumElementalz, 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 newNinja Tune backed labelBig Dada and planned a roster of performers. Bandit of Birmingham's MSI/Asylum crew informed Will ofJuice 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 andLuke Vibert.

In 1998,Mark B and Blade released "Hitmen for Hire EP", which featured guest appearances fromLewis Parker andMr Thing (of theScratch Perverts). The EP was a success, and led to the successful 2001 albumThe 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 byFeeder frontmanGrant 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" fromAspects, a benchmark release within the movement.Roots Manuva,Blak Twang,Mud Family,Ti2bs,Task Force,Phi Life Cypher, MSI & Asylum,Jeep Beat Collective andTy all came to the public's attention, while veteran actsRodney P,Mike J, and MC Mell'O' returned to the scene.

A new generation of artists emerged following the turn of the century, includingJehst,Skinnyman,Nicky Spesh,Foreign Beggars and Usmaan. At the same time, a new style ofelectronic music emerged in the early 2000s, derivative ofUK garage andjungle, with influences fromdancehall,drum and bass and hip-hop; this new genre was dubbed "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.^{[52][53][54][55][56]} 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.^[57]

Success followedThe Streets' 2002 albumOriginal 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 groupGoldie Lookin Chain also achieved chart success with their tongue-in-cheek take on hip-hop. Key records such asSkinnyman'sCouncil Estate of Mind, andKlashnekoff'sThe Sagas Of... were released, cementing the reputations of the artists and opening up the floor for new artists to emerge. LabelsLow Life Records, run by prominent political rapperBraintax, and Young N' Restless started and became the starting point for many.^[58] At the same time, just asgarage was losing momentum,grime was creating interest. Wiley'sTreddin' on Thin Ice was a cornerstone of the genre, and one-time friend Dizzee Rascal won a Mercury Music Prize for his debutBoy 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.

A new generation of young sociallyconscious 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 asNas,Mos Def andTalib Kweli. Amongst this new generation included artists such asKlashnekoff,Akala,Lowkey and the Poisonous Poets.

The mid-2000s saw the emergence ofroad 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 asPDC andGiggs' SN1 crew.^[60]

By the late 2000s,grime music had entered into a period of stagnation.^[61][62] 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 includedN-Dubz,Tinchy Stryder,Tinie Tempah, andChipmunk (later known as Chip) who emerged in the late 2000s to great commercial success. Tinchy Stryder scored two number ones with songs "Number 1" and "Never Leave You" and became the best-selling British solo artist of 2009.^[63] The following year continued the success of the previous, with acts likeProfessor Green andTinie Tempah breaking through to even bigger commercial success and also critical appreciation. The debut album fromTinie Tempah calledDisc-Overy went to number one in the UK Albums Chart and was certified platinum on 1 March 2011.^[64] He also won aBrit Award for his number one single "Pass Out". RapperPlan B found success with his 2010 hip-hop and soul fusion albumThe Defamation of Strickland Banks, followed by the soundtrack albumIll Manors in 2012, both of which peaked at number 1 in theUK Albums Chart. In 2014, Scottish alternative hip-hop trioYoung Fathers won the Mercury Music Prize for their albumDead. 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)" inThe Hamilton Mixtape, which topped theBillboard 200 chart in 2016.^[65] At the2017 MTV Video Music Awards (VMAs), "Immigrants" won the award forBest Fight Against the System.^[66]

The early 2010s saw the emergence of UKafrobeats, led by artists such asMista Silva, Kwamz,Fuse ODG, and Timbo.^[67][68][69] Around the same time, artists such asSneakbo and Timbo were incorporating melodic rap and Caribbean influences into their music. The foundation set by these artists would later be a major influence onAfroswing, a genre that emerged around 2014 derivative of UK afrobeats while carrying influences fromgrime,dancehall,hip-hop, andR&B.^[70]

UK drill^[71][72][73] is a subgenre ofdrill music androad rap that originated in the South London district ofBrixton from 2012 onwards. Borrowing heavily from the style ofChicagodrill music, UK drill artists often rap about violent and hedonistic criminal lifestyles.^[74][71] 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.^[71] 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.^[72][73][75] Musically, UK drill often exhibits violent language and provocative lyrics.^[74]

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 Yorkboom 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^[76] and key members of the larger High Focus crew have includedThe 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,^[76] played the famousReading and Leeds festivals in the UK^[77] and seen many tracks reaching multiple millions of views on YouTube.^[78]

In 2015, The Four Owls collaborated with highly respected^[79] US producerDJ Premier for their trackThink Twice .BRIT Award winning singer-songwriterRag'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.^[80] These albums are what eventually led to his signing with major labelColumbia Records, however Rag'n'Bone Man has continued to feature on High Focus records releases such as the track "Mask" fromJam Baxter's album Touching Scenes in 2019.^[81]

Blah Records is also highly influential.^[82] The label was founded byLee Scott (rapper) and Molotov in 2006 and currently managed and owned byLee Scott and Salar.^[83] Key members of the Blah family include Lee Scott, Salar,Black Josh, Milkavelli, Jam Baxter andCult of The Damned.

The mid-2010s saw the emergence ofAbstract 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."^[84] The group is influenced by the style of hip hip associated with Detroit in the US and have recorded withIlla J andSlum Village. They perform with UK MC's Micall Parknsun, Joker Starr andYungun.

By 2014, grime music was also experiencing a resurgence.^[85] 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.^[86] Acts that would rise within the hip-hop scene within the following years includeDave,Kojey Radical,Slowthai,Little Simz, andLoyle Carner.^[87][88][89] Dave released a "Blackbox freestyle" in 2015 which helped him rise to prominence.^[90] The following year, Dave was noticed by Canadian rapper Drake, who later featured on a remix of his song "Wanna Know".^[91][92]

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,^[93] and was the first 'grime' album to reach number one on theUK Albums Chart. In February 2018,Gang Signs & Prayer wonBritish Album of the Year at the2018 Brit Awards. He has reached number one on theUK Singles Chart a total of two times; firstly as part of "Artists for Grenfell" on 23 June 2017 with song "Bridge Over Troubled Water", and secondly with his own solo single "Vossi Bop", which debuted at number-one upon its entry, ahead of "Me!" byTaylor Swift featuringBrendon Urie by some 500 combined sales.^[94]

Skepta, who also emerged from the grime scene, began collaborating with American hip-hop groupASAP Mob. He featured withASAP Rocky on the song "Praise the Lord (Da Shine)", the second single from his third studio albumTesting on 26 June 2018.^[95] It was the third collaboration between both artists, following Skepta's appearance onCozy Tapes Vol. 1: Friends^[96] and ASAP Rocky's appearance on Skepta'sVicious EP in 2017, which also featuredASAP Nast,Lil B, andSection Boys.^[97] The song was successful in a number of countries, peaking at number 45 on theBillboard Hot 100 and number 18 on theUK Singles Chart. It was later certifiedPlatinum by theRecording Industry Association of America (RIAA) and gold by theBritish Phonographic Industry (BPI). His 2016 albumKonnichiwa won a Mercury Prize and had earned a gold certification in the UK.^[98]

In 2017, Dave did a freestyle on American radio stationPower 106 Los Angeles which has accumulated over 1,000,000 views onYouTube.^[99] In 2018, Dave achieved his first UK number-one hit with "Funky Friday" which featured British rapperFredo.^[100] Dave's debut album,Psychodrama (2019), debuted at number one on theUK 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 aMercury Prize.^[101]

Slowthai released his debut studio album,Nothing Great About Britain, in 2019. The album was nominated for theMercury Prize. He performed at the 2019 Mercury Prize ceremony, where he controversially held a fake severed head of British Prime MinisterBoris Johnson on stage.^[102] Little Simz also releasedGrey Area in 2019 to much acclaim.^[103]

In reaction to the commercialisation of the 2010s, The early 2020s saw a revival of the UK underground movement, led by artists such asJim Legxacy,Lancey Foux, Fimiguerrero andFakemink. The scene was heavily experimental, drawing from thejerk,rage,R&B,plugg andcloud rap scenes popularised by American rappersXaviersobased andNettspend.^[104][105]

Musically, this wave often used cut-and-paste sampling,genre bending and heavily distorted vocals and bass, drawing influence from figures likeJai Paul,David Bowie andKanye West.^[106][107] Visually, artists including YT,Jim Legxacy andNiko B referenced the late 2000s, incorporatingFrutiger Aero and Frutiger Metro aesthetics along with youth culture icons such as theNintendo Wii andJust Dance^[108]

This era was heavily influenced byinternet culture and childhood nostalgia, a result of this generation of artists growing up during the socioeconomic turmoil created by the2008 housing crisis,Brexit,COVID-19 and theRusso-Ukrainian War.^[109] UK underground artists often addressed the "based" lifestyle (remaining true to oneself while disregarding outside opinion), personal vulnerabilities, nostalgia and heartbreak. In contrast to earlier UK rap subgenres, the jerk scene frequently expressed pride in being young and British, while criticising the country's dominant political parties for creating agerontocracy.^[105][110]

The genre has since achieved commercial and critical acclaim. CONGLOMERATE, a collaborative album by Fimiguerrero, Len and Lancey Foux, reached number one on the UK R&B Albums Chart while Jim Legxacy'sblack british music (2025) charted in 47 countries and peaked at number 6 in the UK on Apple Music, withThe Guardian giving the album a 5-star rating, andClash rating it 9/10.^{[111][105][112][113]} This so-called "UK rap revolution" has also influenced high-profile artists includingDrake andPinkPantheress.^[109][114]

Road rap (also known asBritish gangsta rap) is a genre of music pioneered inSouth London, primarily inBrixton andPeckham.^[115][116] The genre was pioneered by groups such asPDC, SMS, SN1, North Star, MashTown andU.S.G. and artists such asGiggs andK Koke and laterNines andSneakbo.^[117][118] The genre came to the fore as a backlash against the perceived commercialisation ofgrime in the mid-late 2000s in London.^[119] The genre came to prominence around 2007 with the rise of Giggs.^[118] 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 Americangangsta rap than thesound system influenced music of grime, dubstep, UK garage, jungle, reggae, and dub.^[120]

Gangs played a large part in the genre, with gangs such as thePeckham Boys (with its various sets such as SN1, PYG, and OPB), based in Peckham andGAS Gang, based in Brixton, with members becoming notable in the road rap scene during the 2000s.^{[116][121][115]}

The road rap scene centres around mixtape releases and YouTube videos with some of the genres more popular acts getting mainstream recognition.^[119] 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.^{[120][122][123]} In keeping with grime, road rap has suffered from pre-emptive policing with Giggs claiming that theMetropolitan Police have set out to deny him the opportunity to make a living from music having banned him from touring.^[124] In 2011, Stigs was served the first ever gang injunction that banned him from rapping about anything that may encourage violence.^[125]

In the early 2010s, the American genredrill began to emerge in the UK, pushed by groups such as 150,67, andSection Boyz.^[126]UK drill has been referred to as subgenre of road rap due to the influence it's had on the genre.^{[127][128][129]} Road rap also went on to influenceafroswing, which emerged in the mid-2010s.^[72]

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 UKtrap music, in a genre he has personally dubbed "Trap Wave".^[130] Wolverhampton artistScarlxrd 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 "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 ofEminem,Bring Me the Horizon,Limp Bizkit,DMX,Slipknot,Travis Scott andLinkin Park, among others.^{[131][132][133]}

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 asTinchy Stryder,Tinie Tempah,N-Dubz andChip 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.^[134]

The growth of British hip-hop was given a boost when in 2002, the BBC launched a digital radio station1Xtra devoted to "new black music" including hip-hop,R&B,soul,UK garage,dancehall,grime and drum and bass,^[135] however 1Xtra does not play exclusively British hip-hop. The cable and satellite channel, Channel AKA (formerly Channel U, now known asNow 70s) also had the profile of British hip-hop and grime.YouTube was also a very important outlet for upcoming and significant artists. Channels includeLink Up TV,GRM Daily,SB.TV, Pressplay Media andMixtape Madness.

Women have contributed to hip-hop's evolution in Britain from the beginning.^[136] Pioneering British female rappers have includedCookie Crew,She Rockers,Wee Papa Girl Rappers, andMonie 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 includeAlesha Dixon,Baby Blue,C-Mone,Envy,Estelle,Lady Leshurr,Lady Sovereign,Little Simz,M.I.A.,Nadia Rose,Shystie,NoLay,Stefflon Don, Mercury prize winnersMs. Dynamite andSpeech Debelle and music producerMizz Beats.^[137]

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."^[138]

• Afroswing
• Drill
• Gangsta rap
• Grime
• Hip-hop
• Music of the United Kingdom
• Scottish hip-hop
• Welsh hip-hop
• Irish rap
• Trap
• UK drill
• UK garage

• Source for UK hip-hop artists

• British hip-hop
• Hip-hop genres
• English styles of music
• British styles of music

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