The single demonstrated the East London emcee’s softer side. He rapped about a failed relationship. The track documents his struggles with his ex, and the way in which he lacks closure. The deep lyrics seeps through a slow instrumental. The whole package swirls around a moping piano loop, and a melodic drum beat. It provides a poignant foil on which Ghetts can open his heart.

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Another tune that never made the album but I just felt like freeing a hostage thank me by buying my album @reissnicholas on producky #pantz #currentform #yourfavouritecouldnever

A post shared by GHETTS (@therealghetts) on Sep 8, 2020 at 10:27am PDT

The lyrical quality is up to Ghetts’ impeccable standard. The fact that the artist deemed the track too poor for the album will excite fans, due to its undeniable quality. He explained, on the Instagram caption, that ‘he just felt like releasing a hostage‘. The track would not have been seen the light of day had he not released it, off the cuff, on social media. He finished the upload: ‘thank me by buying my album’.

Ghetts is a Grime scene legend. The new album promises to be the crowning glory of an extensive career. It is his first album since his 2018 classic, ‘Ghetto Gospel III‘. It is one of the most diverse British albums in recent memory, and if ‘Dead to Me‘ is anything to go by, the next album will surpass his previous heights.

P Money titled the mix-tape ‘While We Wait‘, because he viewed the project as an intermission, ‘While We Wait‘ for venues to reopen. Despite only being three tracks long, the E.P. demonstrates a diverse range of sound and feeling. Speaking on the release, P Money explains that :’While we wait for life to get back to normal and Venues to reopen I thought I’d give you a 3 track EP to get you through the next month or 2 until we drop the next project ‘Un-traditional E.P.’ by P Money x Silencer’.

It opens with ‘Bumbaclart Riddem‘, in which P Money goes lyric for lyric with Nottingham artist, Mez. It is fast paced and frantic, a mood which is in stark contrast to the second track. ‘Is Someone There?’, the mix-tape’s second song, is an emotional exploration. P Money opens up on his struggles with mental and physical health.

The mix-tape ends with the assertive, ‘Pagan’s Everywhere‘. It is a potent track which writhes with P Money’s traditional sound.

P Money has given fans a bonus with his new E.P., which opens a window into the breadth of the emcee’s talents. Be sure to take in the E.P.’s accompanying visuals below:

‘Tell Me A Ting‘ does not waste time. The single launches straight into a cacophony of pulse-quickening heavy base and drums. D Double wastes no time in asserting his characteristic flow and delivery all over the instrumental. It is clear that, from within the first thirty seconds of the single, ‘Tell Me A Ting‘ is a grime classic.

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tomorrow ting (@omygoshitsddoublee)

A post shared by Kano (@therealkano) on Sep 1, 2020 at 11:22am PDT

There is scarcely time to breathe in between the end of D Double E’s first verse and Kano’s introduction. It is the first time that Kano has released, or featured, on a track since his 2019 album ‘Hoodies All Summer‘. However, despite his hiatus, it is clear that he has not lost any of the skill that propelled him to the top of the grime scene. Kano uses his verse to remind the doubters of his undeniable talent.

D Double E and Kano released a visual alongside the single. The clip matches the singles intensity. It pictures the two artists in a dark surrounding, quad-bikes spin a cars cough smoke as they punch their respective verses.

‘Tell Me A Ting‘ witnesses the deadly combination of two grime scene legends. The result is an emphatic track, which displays the genre’s energy, and the two artist’s lyrical talent.

Be sure to take the single in below:

Frisco is responsible for the single’s hook, and contributes a dynamic verse. BBK’s Skepta, JME, Jammer and Shorty all feature. These artist constitute Boy Better Know’s A Team, because they are the groups most dynamic talents. Therefore, ‘Red Card‘ bubbles with a variety of smooth flows, punchy lyrics and expert delivery. It serves as a showcase of BBK’s extensive abilities.

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THE BOYS ARE BACK IN TOWN! My new single RED CARD Out Now EVERYWHERE P.s Big ups to @anniemac for making this hottest track in the world right now!

A post shared by Frisco (@bigfris) on Sep 2, 2020 at 1:51am PDT

‘Red Card‘ is a typical grime track. The instrumental has a home studio feel, which rolls over a chilling pipe sound and a fast-paced drum beat. The emcee’s are no strangers to the genre, and therefore it comes together with a vintage sound which will fill raves and dance tents.

Frisco released the track alongside a music video. The clip is simple. It depicts the rap group delivering their respective verses in front of Nelson’s column. It is a visual statement that affirms the rap groups iconography. This is because the group shot it in front of London’s most renowned landmarks. Through the clip, BBK essentially convey a sentiment that they are the Grime scene equivalent of the column; a towering beacon that represents London’s global influence.

Boy Better Know’s iconic squad of Grime artists flood ‘Red Card‘ with a potent sound. The recognisable deliveries of Skepta, JME and Frisco are iconic, and this is recognised by the music video which places them alongside Nelson’s column.

‘Rude Sounds’ is 6 tracks long. The potent grime sounds of Sir Spyro and Rude Kid combine throughout the EP. The result is a cacophonous carnival of heavy drums and base which shatter the skull. The project opens with ‘Win the Ting’ opens with an an edgy whirlwind of snares, and transgresses into a mesh of face-melting base in ‘Windy’ and ‘Chase It’. All 6 tracks maintain the vintage grime 140 bpm pace.

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Rude Kid x Sir Spyro – Rude Sounds EP out NOW

A post shared by Rude Kid (@rudekidmusic) on Aug 27, 2020 at 1:27pm PDT

The tracks are purely instrumentals. Emcee’s will spit bars over the project’s beats. Therefore, given both RudeKid and Sir Spyro’s track record, it is safe to assume that one of the instrumentals will become the next mega grime hit.

Sir Spyro has worked with the likes Ed Sheeran and Stormzy, on the official remix of ‘Take Me Back To London’ (2019). On the other hand, Rudekid is best known for his production on Ghett’s iconic single, ‘One Take’ (2015). Together they have cultivated a reputation as the Grime scene’s finest producers.

‘Rude Sounds’ is a devastating collaboration between two of Grime’s most prolific producers. Fans across the country will no doubt enjoy the project, and the future possibilities it presents.

Swindle and Kojey Radical are a dynamic duo, and the promotional single demonstrated the breadth of their talent. Radical crafted a raft of football inspired lyrics across Swindle’s diverse instrumental. He also addresses the Corona-virus and the Black Lives Matter campaign, as he charted the course of the football season.

Swindle builds the track upon a beat of authentic trumpets, strings and drums. As a result, the track transitions from a triumphant blaze that echoes the ‘Escape to Victory‘ soundtrack, to a poignant, poetic, crescendo.

The track, and accompanying visual, have almost amassed 1 million views on Twitter, despite it only being released on Sunday. It is currently unclear whether he will release the single on Spotify, despite its popularity.

It is not the first time that Swindle and Kojey Radical have collaborated, to devastating effect. Swindle produced Kojey’s hit single Coming Home in 2018. Kojey repaid the favour by featuring prominently on Swindles 2019 project, No More Normal.

‘Time For A New Season’ encapsulates a tumultuous few months. Kojey Radical’s lyrical ability partners Swindles instrumental talent to create an emotional roller-coaster of a track. The single’s football framework allows for an easy journey that charts the years social upheaval, over the course of the season.

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With the incredible @kojeyradical in collaboration with @btsport for the @championsleague final

A post shared by Swindle (@swindleuk) on Aug 23, 2020 at 1:34am PDT

Wiley has been embroiled in controversy recently, following an Antisemitic rant on Twitter. Twitter, YouTube and Instagram banned the rapper, proceeding the outburst. Poet quizzed Wiley on these issues.

However, he failed to recognise the error of his ways. He blamed the Jewish community for his social media ban by claiming: ‘Twitter, shut down – who owns Twitter, do you reckon? Instagram, shut down – who owns Instagram, do you reckon? Facebook – shut down – we all know who owns Facebook‘. ‘YouTube, Google, who owns that do you reckon?  That’s the first lot of people who have shown who they are‘.

He did admit that he could have worded his tweets better, but the lack of regret will continue to damage his career. The interview appeared on the Football Youtube channel, The Filthy Fellas. The channel condemned Wiley’s comments. They wrote, on their channel, that the rant was ‘wrong and poorly considered and very dangerous‘.

Wiley rounded off the interview with a message for Alan Sugar. He said ‘Alan Sugar I don’t hate you the way you think I feel’. But ‘you love your people and you want to make jokes about mine‘.

Wiley has burned a lot of bridges since his Antisemitic outburst. The interview gave him the opportunity and the platform to express regret. However, he failed to denounce his previous statements and, as a result, his career may be in jeopardy.

You can watch the interview below:

The four L’s stand for ‘Love Life Live Large‘, which is the track’s chorus. The two East London emcees delivered powerful verses over a typically energetic instrumental. Dizzee Rascal’s flow is imperious and it augments the track’s potency. Chip adds a dash of panache with his word-play.

The music video shows the pair living the high life in a stately home. Fast cars and jet-skis appear as Dizzee, dressed in a flash tweed suit, tries his hand at clay pigeon shooting. The result is a clip that crackles with vigour.

‘L.L.L.L‘ is the first single from Dizzee Rascal’s upcoming album, ‘E3 AF’. The project is set to be released on October the 9th. It will feature huge grime acts such as Ghetts, Kano and Frisco. Dizzee is a veteran. His new project is his 7th studio album, he rose to fame with his gritty debut ‘Boy in Da Corner‘ (2003).

Dizzee Rascal is British grime royalty. He pioneered the scene, alongside Wiley. E3 AF may become a triumphant homecoming, if the snarling ‘L.L.L.L‘ is anything to go by.

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On October 9th I’m dropping my 7th studio album it’s called E3 AF. I’ve spent the last 3 years losing and finding myself in music and I’ve made something Flawless. I made this album for YOU! I want you to play it at home, in your car or wherever you want but I want you to listen to it all the way through and you better have some BASS!! The link ups are mad and I didn’t come to play!! You’re welcome. Pre orders go live this Thursday, every format. Thank you #E3AF (e3AFrican).

A post shared by Dizzee Rascal (@dizzeerascal) on Aug 19, 2020 at 3:50am PDT

Obama tweeted a screenshot of his playlist, accompanied by a brief explanation of the tracks included. He revealed that he has ‘spent a lot of time listening to music with [his] family over the last few months‘. He described the uploaded tracks as some of his ‘favourites from the summer‘.

Over the past few months, I’ve spent a lot of time listening to music with my family. I wanted to share some of my favorites from the summer—including songs from some of the artists at this week’s @DemConvention. Hope you enjoy it. pic.twitter.com/2ZFwdN46jR

— Barack Obama (@BarackObama) August 17, 2020

The first British track Obama added to his list was ‘Don’t Rush’ by Young T & Bugsey, featuring Headie One. The catchy smash hit went viral because of the #dontrushchallenge, which inspired thousands of Tik-Tok videos. It is a energetic tune which fits with Obama’s summer criteria.

Little Simz’s ‘one life, might live’ also appears. It is the latest chapter in an incredible year for the artist, who has recently been nominated for a Mercury Prize. Little Simz released ‘one life, might live’ in May. Obama includes Jorja Smith’s 2019 single ‘Be Honest’, featuring Burna Boy, to round off a healthy contribution from British artists. The fact that ex-president, Barack Obama, included a cohort of artists from the British music scene is a huge achievement. The exposure the artists will gain from their inclusion on the play-list, may help them break into the American music scene and shoot to super-stardom.

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Kinda wild @barackobama

A post shared by simz (@littlesimz) on Aug 18, 2020 at 3:47am PDT

The club is preparing to open at 30% capacity. This follows the government’s guidance on the re-opening of music venues on the 15th August, provided they adhere to social distance policy.

The city’s mayor Joe Anderson claimed that ‘the fact that the world-famous Cavern could close forever‘ should ‘bring home to the Government how much our hugely treasured music industry is in peril’, due to the current pandemic.

The Cavern Club’s reputation as a legendary venue materialised following the success of a local band, who would perform at the club regularly. The band, named The Beatles, developed into the the most influential group in musical history.

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We are back open this weekend in The Cavern Pub and our Restaurant! The Cavern Club will be open for 3 free tours every day for those who dine in our restaurant and fill in their track and trace details. Book a table in our restaurant today – www.cavernclub.com

A post shared by The Cavern Club (@cavernliverpool) on Aug 14, 2020 at 7:38am PDT

The mayor continued, in an article for the local Liverpool Echo, that ‘the prospect of losing a national jewel like The Cavern is a horrible scenario for all concerned, be they Beatles fans, music lovers and above all those whose livelihoods depend on it‘.

Bill Heckle, the clubs director, has warned that the Government must ‘expedite this issue with the utmost urgency‘ to ensure that ‘when lockdown is over our music venues and cultural way of life is there for us to return to and enjoy. again‘.

The prospect at losing the Cavern Club is beyond comprehension for music fans. The intimate venue is synonymous with British music, and to lose it would strip the nation of a shining cultural jewel.