The Tottenham-born rapper Wretch 32, real name Germaine Scott, has long been a pioneer of the evolving UK hip-hop scene. Beginning his career in grime before developing multi-genre fusions, his music has consistently balanced soulful storytelling with sharp social commentary.

His latest album HOME?, released in May 2025, is one of his most ambitious projects to date. Blending grime, afrobeat, reggae, garage, R&B, and spoken word, the record explores the question of what “home” means for a Black British artist raised in Tottenham. Critics praised it as a daring work of social documentation. Rolling Stone UK called it “a piece of social documentation that stretches back generations,” while Hive Magazine described it as “raw, unfiltered and unapologetic artistry.”

Wretch 32 grew up on the Tiverton Estate, situated next to the Broadwater Farm, notorious for the riots of the 1980s. He is the third generation of his family to be raised there, his great-grandparents having emigrated from Jamaica. His upbringing exposed him early to the realities of racial injustice in the UK. His father was active in community activism and frequently appeared on television campaigning for equality. Wretch himself was featured as a baby in the 1988 documentary Scenes from the Farm, filmed in the aftermath of the riots and capturing the lived realities of 1980s Black Britain.

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This background informs much of ‘HOME?’. In “Black and British,” his collaboration with Little Simz and Benjamin AD, he recalls being abused on Black Boy Lane: “On Black Boy Lane I was caught on my own / He told me to go back to my country / I thought I was home.” That kind of raw commentary runs throughout the record, where personal experience intersects with broader cultural questions of belonging and displacement. Speaking to The Guardian earlier this year, he admitted his sense of home remains unsettled: “I feel like it always moves. I feel like it always changes. I’m still trying to put an exact location on it but as it stands it’s more who I’m with. I feel like I could make a home in any house.”

Now, following the release of the album, Wretch 32 will make his National Theatre debut with a dramatized adaptation of ‘HOME?’. Directed by Clint Dyer, the performance will combine music, spoken word, dance, and theatrical staging. Special guests will join him as he explores themes of Black British identity, belonging, and legacy in a production that blurs the line between theatre and live music.

The event is scheduled for one night only, on Thursday, 23 October at 9:00 p.m. at the Olivier Theatre.
It is part of the National Theatre’s autumn season, the first under new creative director Indhu Rubasingham, which signals a fresh and inclusive programming approach that welcomes artists from beyond traditional theatre circles.

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The album features the previously released single ‘Grime Scene Saviours’, a high-powered posse cut that harkens back to the days of Lethal Bizzle’s ‘Pow! (Forward Riddim)’. The song holds a lineup that’ll hit big with grime fans, including D Double E, Frisco, Flirta D, Skepta, Bruza, JME, Jendor, Novelist, Jamakabi & Flowdan.

Also on the record are second single ‘Davinche Code’, an old-school, glitchy track with classic grime-riddim synth sounds, and third single, ‘Function Riddim’, a smooth, floaty song where Chip delivers a long verse reflecting on his status and career, with lyrics like “I’m from London, I moved to London at 21, got me feeling like 21”.

In the run-up to the album, Chip staged a sold-out show at Outernet London in February. The show saw countless classic grime heads and new-school names locked into a cypher, including Jme, Skepta, Frisco, D Double E, Jendor, Flirta D, Novelist, Jamakabi, Bruza, P Money, Riko Dan, Kruz Leone, Desperado, Jammer, SoLarge, RB, More Fire Crew, Duppy, Logan, Double S, Big Narstie, Ruff Squad, and DJs Mak 10, Maximum and Sir Spyro.

London-based music publication Trench had high praise for the show: “One after the other, a plethora of MCs enter the stage and at this point, it’s largely a who’s who of grime. The energy in the room is electric as Chip passed the mic to Jme, who passed it to P Money, who then passed it to ad-lib king D Double E. As you can imagine: it’s straight-up reload central, with every MC spitting their iconic one-liners and whipping the crowd into a frenzy.”

Chip has certainly carried this energy onto his new album, with a full tracklist of 130-140bpm bangers and long-form verses. While earlier releases in his career catered to more poppy, radio-friendly audiences, in recent years he’s pivoted to pure grime, with albums like ‘Snakes & Ladders’ and freestyles for Link Up TV and GRM Daily putting his high-tempo, punchline-heavy style on full display.

Other tunes on the album feature Scorcher and Jastin Martin, and a roster of renowned beatmakers including Teddy Music, Dexplicit, Ace Beats, Sir Spyro and Jammer handled production for the record.

Chip is set to appear at Skepta’s Big Smoke Festival 2025, alongside JME, Frisco, Chy Cartier, Jordss and others at Crystal Palace Park later this year. You can read our writeup on that here.

Robert Luis, founder of the Tru Thoughts label that Terror was signed to, gave a post on February 11 confirming his death and commemorating his contributions to music: . “Rest In Peace to Terror Danjah,” it reads. “It is very sad to hear the news of his passing. Everyone at Tru Thoughts sends condolences to his family, friends, colleagues and anyone effected by the news.

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“He was a pioneering and influential producer helping lay the foundations and creativity within Grime with many releases, as well as pushing his own R&G genre with R&B singers over Grime productions. He has been and will remain an important part of music culture.” Terror, real name Rodney Pryce, was born in Forest Gate to Jamaican parents. Pryce started out as DJ, performing at jungle raves in the 90’s, before he turned his hand to music production. He was around from grime’s infancy, becoming a member of N.A.S.T.Y Crew, working with MC’s such as Wiley, Kano, Jammer, D Double E and more.

He’s regarded as one of the best grime producers of all time – his glitchy, dark sound can be heard on his “Frontline” instrumental, one of the scene’s most renowned riddims, and a vital release for Terror. He is also known for pioneering the ‘R&G’ sound – Rhythm & Grime. Alongside producers like DaVinChe and Scratcha DVA, he fused the softer elements of R&B with grime rhythms and tempos. One of his standout productions in this sub-genre is ‘So Sure’, a track with Kano and Sadie Ama that showcases a more mellow, romantic angle to grime production.

He released work through labels like Hyperdub and Planet Mu, as well as through his own label Hardrive. He remained active into the 2010’s, collaborating with a variety of artists like Wiley, IAMDDB and Fourtet. In 2019, Terror fell into a coma after suffering a stroke. He never made a full recovery, and he disappeared from the public eye, leaving his socials inactive. But he still managed to release music afterwards, dropping his album ‘Invasion‘ and the EP ‘Red Flag‘.

Tributes have flooded in from friends and peers – DJ and broadcaster Logan Sama spoke highly of his character, saying: “There are few people throughout my history in music that I have seen reach out, nurture and empower as many emerging artists with the tools to go on to lead successful careers than I did Terror Danjah. Rapper and TV personality Big Zuu also remembered his good nature, calling Terror “a very kind soul who always had time for the mandem and just wanted to see us win. Sending prayers and blessings to your family.”

Other musical peers have paid respects, with DJ Opim Hum calling him “the greatest to ever do it”, and Plastician writing “Such a talented producer and a great human being to boot. He’s never left my crates. Never will.” More tributes can be seen below.

RIP Terror Danjah. One of my favs and one of the best grime producers ever. His style was truly unique. — 구종수 (@kush_jones_) February 11, 2025

Heaven gained not just an angel
but a UK legend.

Love you @TerrorDanjah

4L pic.twitter.com/rhDXK8sbMm

— Trillary Banks (@trillarybanks6) February 11, 2025

RIP @TerrorDanjah
You will be missed
The best ever grime producerhttps://t.co/BqkbQuK2Qw

— Planet Mu (@Planetmurecords) February 11, 2025

One such artist is DC3, a 17 year old rapper from Northampton with Zimbabwean roots, currently attracting 55,000 monthly listeners on Spotify. His music often incorporates Christian themes, reflecting his spiritual journey and encouraging other young people to embrace their faith. In 2023, he caught the attention of Little Simz after she saw one of his freestyles. Although he engages with fans on Instagram and TikTok, his presence extends beyond social media, with appearances on other platforms such as Reprezent Radio’s ‘The Rap Room‘. His latest single, ‘Wanna Be’, released on 13 December, exemplifies his positive influence in the genre, urging listeners to pursue their dreams with perseverance and faith through melodic beats and introspective lyrics. 

Another 17 year old to watch out for is Nino SLG. Born and raised in South London, his creativity and intelligence has garnered attention from both fans and industry figures, including Stormzy, who named him as an artist to watch. Nino’s music delves into themes such as mental health and the challenges of growing up in London, combining poetic lyricism with gospel influences to create a sound that aligns with “conscious rap”. His latest release ‘2am in Paris’, dropped on 12 December, continues his journey of reflective songwriting, focusing on themes of authenticity and self-made success.

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East London’s Barney Artist also made waves with the release of his album ‘Strangers All Around’ on 17 December. Known for blending 90s Boom Bap Hip Hop with Jazz influences, Barney’s music often addresses personal and societal themes, while his smooth lyricism and genre-fusing style creates a unique sound. The album demonstrates his rhythmic mastery, with laid-back beats and hypnotic synths transporting the listener through the tracks. 

Deema, a South London rapper and member of grime collective The Square, is embracing Dizzee Rascal’s call for innovation in grime through his third EP ‘DOG WITH A £’. He has carved out a distinct space within the UK music scene through his blend of grime with lo-fi beats and introspective lyrics, a fusion that allows his lyrics to take centre stage within his soundscape. His verses move beyond stereotypical themes in grime and delve into emotional and philosophical topics, evident on ‘DOG WITH A £’ released in November. 

 

 

 

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SamRecks is another London-based rapper blending lo-fi with UK Rap, bringing his own innovative approach by fusing grime and lo-fi. Born in Nigeria and raised in South London, his sound combines drill’s syncopated rhythms and hard-hitting snares with lo-fi’s mellow production, resulting in a fresh blend of genres. His lyrics often explores the emotional intricacies of violence and hardship, as showcased in his November single ‘Relapse‘, where he delivers a vivid and authentic narrative.

NEW: @SamRecks delivers brand new bop “Relapse”

WATCH HERE: https://t.co/hiTsxT4HXT pic.twitter.com/PrwgkZJXFm

— GRM Daily (@GRMDAILY) November 18, 2024

Blanco, a South London artist and former member of drill collective Harlem Spartans, also blends elements of drill into varying genres, including with Brazilian influences. With over two million monthly listeners, he is a more established artist and continues to showcase his innovative approach to UK Rap with his new album ‘Gilberto’s Son’. His versatility and storytelling skills paired with his creative rhythmic patterns and melodies, all featured on the November record, set him apart from other voices in the drill scene. 

 

 

 

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In a male dominated genre, female voices are beginning to gain recognition, and one such voice is ENNY. Known for her unique blend of hip hop and soulful melodies, she has also cultivated over two million monthly listeners. Her introspective lyrics and smooth flow define her sound, and her latest release, ‘GREEN LIGHT’, a collaboration with Moses YooFee Trio, demonstrates her versatility and artistry. 

In conclusion, the past two months have demonstrated the innovative potential within the UK Rap scene, with both emerging and established artists pushing the boundaries of the genre and bringing fresh perspectives. As the year ahead promises even more exciting music from both veterans and newcomers, including Central Cee’s new album and Brandon Nembhard’s new music, the global impact of UK Rap shows no signs of slowing down.

Over a beat from prolific DJ and producer Sir Spyro, the grime legend drops some humorous bars about winding down over the holiday period, rapping “lets chill and order takeaway, nah not leaving the sofa today, got my headphones on under the duvet”, starring beside Nella Rose in the video, sprinkling some of his classic adlibs into the short song.

The tune is set to launch on TikTok on December 27, playing throughout the “Twixmas” period, the days between Christmas and New Year. The campaign will see other influencers such as singer Wes Nelson and Diversity dancers Sam Craske and Star Kiely appearing in “Glowing Up, Dressing Down” videos, showing how they relax during Twixmas time.

Lauren Godfrey, Mars Wrigley portfolio and media lead, said in a press statement: “We’re excited to partner with D Double E and Nella Rose to create a campaign that resonates with consumers during this unique post-Christmas period and will encourage everyone to embrace and share their simple joys at this time of year.”

Both D Double and Spyro have recently collaborated with Red Stripe to celebrate the launch of their new rum-based cocktail drink, Rum Stripe. Honouring the brands Jamaican heritage and musical ties, the beer brand hosted a show at an intimate corner shop in Old Street. In a tribute to soundsystem culture and its Jamaican roots, they enlisted a lineup featuring D Double, Spyro and Tiffany Calver to deliver some high-energy sets of dance and grime music.

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The Twixmas campaign isn’t the first time the Newham MC has starred in advertising. D Double was the genre’s first artist to venture into musical marketing when he appeared in an IKEA Christmas ad. Voicing animated household items, he pulls some witty diss bars for the family’s front room, like “This table’s older than the pyramids, at least its younger than the mirror is” and “It’s like somebody hit it with a bulldozer, if your house was a car it would get pulled over”.

And he’s not the only one – last year, grime veteran and comedian Big Narstie appeared in an ad campaign for US company Slimfast, making a short music video titled “Oomph For Your Boomph” featuring a heavy trap beat and bars about the classic shakes vitamins, minerals, and fitness benefits.

The “Street Figher Riddim” MC has gathered a MOBO nomination for the 2025 awards, in the running for “Best Grime Act” alongside other classic names such as Chip, Scorcher, and Manga St Hilaire. The “Best Male Act” and “Album Of The Year” categories also feature grime icons Bashy and Ghetts, going head to head in a pairing that should remind any old-school fans of their infamous rooftop clash from back when battling was frequent for the scene’s big names. Check our preview of some of the key nominations here.

The video opens with a tender montage of Krept cradling Nala, paired with scenes of him guiding her through childhood milestones. Krept’s lyrics weave seamlessly through the visuals, including shots of him gazing lovingly at clips of his daughter. He also reflects on his own upbringing; the lessons he has learnt about love and friendship and the pure determination to be the best kind of father who creates a better future for his child. The video places Krept’s poignant lyrics front and centre, making it a completely raw and emotional narrative.  

Adding to the video’s impact, the appearance of many familiar faces from the grime scene, as well as Krept’s close friends and family, each joined by their own daughters. The likes of JME, DJ Target and Docta Cosmic are filmed interacting with their children, crafting a powerful visual statement about fatherhood in modern society. For the collective, many of whom are black fathers, this representation holds even greater significance, challenging the stereotypes perpetuated in mainstream media. It is a clear celebration of love, resilience and responsibility, breaking down societal stigmas while showcasing these artists as being well deserved role models.   

 While the project opens a broader conversation about fatherhood in black communities, Krept doesn’t shy away from addressing the significance of Nala’s mother. He highlights the struggles and sacrifices she endured during pregnancy, ‘I watched your mum cry in pain as she carried you, so keep that in mind before you give her any attitude’. Using his lyrics, he ensures Nala will grow up understanding her mother’s strength and the challenges she overcame to create Nala. Krept also pays tribute to Nala’s late ‘uncle’ Cadet, a talented grime artist and Krept’s cousin, who tragically passed away in a car accident in 2019. He emphasises the importance of reaching out to loved ones and making sure to cherish every moment with them. By acknowledging both the journey of parenthood alongside Nala’s mother and honouring Cadet’s memory, Krept paints a fuller picture of the people who have shaped his daughter’s life. The song beautifully captures how grief and love coexist, underscoring his determination to teach his daughter to live life fully and love deeply.  

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 Looking ahead, Krept has teased an exciting 2025. As one half of  Krept & Konan, the duo has announced the release of their fourth studio album, Young Kingz II, on February 7, 2025. This marks their first album since 2019’s Revenge is Sweet, which reached number five on the official album charts. The upcoming album is expected to expand on the themes introduced in ‘Nala’s Song’, further cementing Krept’s reputation as an artist unafraid to showcase vulnerability and love, both as a father and as a musician.  

Born Dylan Kwabena Mills in East London, the British rapper, producer, and songwriter is recognised as one of grime’s foundational figures. With a career spanning two decades, he has undeniably transformed the UK Rap Scene. 

His debut album ‘Boy in da Corner’ was a defining moment for grime. Released in 2003, the gritty beats paired with introspective, raw lyrics resonated with the struggles and energy of urban youth. The album won the Mercury Prize, making Dizzee the youngest artist at the time to receive the honour. 

Boy In Da Corner dropped 15 years ago today. Instant classic pic.twitter.com/8tSdY3vwgt

— MOBO Awards (@MOBOAwards) July 21, 2018

The subsequent albums, ‘Showtime’ (2004) and ‘Maths + English’ (2007), demonstrate his style evolution as he fused grime with hip-hop and electronic music. Collaborations with artists like the Arctic Monkeys pushed Dizzee, and grime, into mainstream recognition. 

Dizzee’s fourth album, Tongue n’ Cheek’, is arguably his most successful and showcases a shift towards a pop-oriented sound. Hits like ‘Bonkers (featuring Armand Van Helden)’, ‘Dance wiv Me (featuring Calvin Harris and Chrome)’, and ‘Holiday (featuring Calvin Harris)’ all shot up the UK Singles Chart and each made No. 1. With its triple platinum status and multiple BRIT Award nominations, ‘Tongue n’ Cheek’ solidified Dizzee’s status as a mainstream artist and a festival favourite. 

One of his most iconic performances was at Glastonbury with Florence + the Machine performing ‘You’ve Got the Dirtee Love’. Dizzee’s three verses overtop the band’s hit ‘You’ve Got the Love’ reflect the relevant social issues of the time, similar to how he continues to engage with these perspective and themes in his later music.

Although his career has been shadowed at times by controversy, including legal issues and public disputes, his contributions to grime and UK music remain undeniable. 

‘I Invented Grime’ is a 4-track declaration of these contributions. The title reinforces Dizzee’s assertion of his pivotal role in grimes origins, while the EP serves as a celebration of his lasting impact and a call for emerging artists to innovate within the genre. 

 

 

 

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As the lead single for the EP, ‘Co-sign’ introduces the blend of self-assurance and challenge that runs throughout the EP. He emphasises his legacy throughout the track with “1999, you didn’t know grime, I was making grime and getting no shine” and speaks directly to new grime artists, urging them to push the boundaries of the genre. Lines like “Done a lot for grime, done a lot for rap” underpinned by high-energy beats further emphasise his legacy suggesting that his influence will continue. 

The next two songs on the EP reflect on Dizzee’s long-standing presence in the grime scene and display his strong ties to the culture of grime. ‘Match Fit’ blends his signature grime style with dance influences, featuring driving basslines and rhythmic syncopation, giving the track a modern edge. Similarly, gritty energy in the penultimate track ‘Arsey’ reflects the rawness of grime culture that Dizzee resonates with. The fast-paced, aggressive rhymes and punchy beats embody grime’s unrefined, bold style and create a relentless flow that continues into the last song.  

‘Daily Duppy’ ties the EP together in a final showdown which displays Dizzee’s mastery of grime. Through complex wordplay and rapid flow, he addresses haters who question his relevance and critiques the industry. He asserts his supremacy with sharp lyricism, claiming to be “the best there is, there was, and ever will be”, reinforcing that he is not yet finished with grime.

Ultimately, ‘I Invented Grime’  serves as a declaration of Dizzee’s dominance and a challenge to contemporary grime. During his career he has been a trailblazer, bringing grime to mainstream ears and shaping the sound of UK rap. His bold, introspective delivery throughout the EP reassures fans that his contributions to grime will continue, and that he remains a leading voice in the genre.

I’ve been waiting to drop Gas Me Up (Diligent) since teasing it April last year, worked hard getting the artwork right for my album rollout which is about my parents coming to the UK in the 80’s, Skinhead, Football culture and it has been taken offensively by many and I can…

— Big Smoke – (@Skepta) January 10, 2024

After the artwork was posted, many were quick to point out that the photograph evoked imagery of the Holocaust. Men lined up with shaved heads in combination with the phrase “GAS ME UP” can understandably be taken as a tasteless pun, in reference to the millions of victims systematically murdered by the National Socialist Party throughout the early 1940s. According to Adenuga, this was by no means the intention, following up his first tweet with another post outlining how the artwork was inspired by British Skinhead and football culture of the 1980s, rather than anything more sinister. Citing the cultural environment that his parents entered when they moved to the UK from Nigeria in the 1980s, the track’s artwork was designed to capture the image of British football culture. In a follow up tweet, Skepta shared a selection of images that were used to inspire the creation of the “Gas Me Up (Diligent)” artwork. Speaking on the matter, Skepta said: “I can honestly see how my single artwork without context can be deemed offensive, especially in a time like this but again that was not my intention.”

I can honestly see how my single artwork without context can be deemed offensive, especially in a time like this but again that was not my intention. But after some thought I don’t feel like I could continue being the artist you all know and love if my art is policed, I have to… pic.twitter.com/59oUOPe8Hp

— Big Smoke – (@Skepta) January 10, 2024

To ‘gas’ someone or to be ‘gassed’ means to be excited for someone or about something. Pioneering Grime MC Dylan Mills, also known as Dizzee Rascal, used the colloquial term in a similar way with his track ‘Don’t Gas Me’ in 2018. The track is about Dizzee wishing to avoid being hyped up by others because he hypes himself up enough. In a similar manner, Skepta’s “Gas Me Up (Diligent)” means that he wishes for others to be excited for him and his music.

Some fans have applauded Skepta’s hasty removal of the controversial single cover with one Twitter user saying: “Thank you for taking and down and going with different artwork”. However, many other Twitter users have expressed their dissatisfaction with the change, claiming that the decision is a suppression of artistic expression. Given that Skepta has gone on record several times to say that the Holocaust reference was by no means his artistic intention, he is well within his right to remove the work.

Skepta’s single “Gas Me Up (Diligent)” will release on January 26 as planned in the lead up to his new studio album Knife & Fork.

In the announcement post on Instagram, Skepta expressed gratitude to his fans for their unwavering support and proclaimed his anticipation to reconnect with fans at the Big Smoke Festival in 2024, writing, “It’s been years since I dropped my last album and I want to thank you for all the love during my hiatus. I’ve seen the messages, tweets and Tik Toks, I’m truly grateful that my music is still resonating with the world, even in my absence. I’m happy to announce my next studio album #KnifeAndFork is loading this year, the first single #GasMeUp (Diligent) will be out January 26th Can’t wait to see you all @bigsmokefestival happy 2024″

‘Knife and Fork‘ is set to be Skepta’s sixth solo project, with the first single, ‘Gas Me Up (Diligent),‘ scheduled to drop on January 26. The album signifies Skepta’s long awaited return after a five-year hiatus following the acclaimed ‘Ignorance is Bliss’ LP in 2019.

In the absence of his solo work, Skepta has been active in collaborations, releasing the EP ’48 Hours’ with 19-year-old producer Ryder in November 2023. Ryder’s TikTok remix of Skepta’s ‘Konnichiwa’ track ‘Text Me Back’ achieved viral acclaim with the hashtag #skeptacore, prompting the rapper to make contact. Additionally, Skepta and BBK collaborator Jammer also delved into club culture, founding the house music label Más Tiempo, and acting as producers and DJs for the project. The duo celebrated with a sold-out event at London’s Drumsheds venue late last year.

In November, Skepta revealed plans for the inaugural Big Smoke Festival scheduled for July 6 at Crystal Palace Park in London. The festival promises a full live performance by Skepta, complemented by a Más Tiempo DJ set side-by-side with Jammer. Big Smoke Festival stands as Skepta’s only announced live performance for 2024, and tickets are already available here.

Hailing from North London, Skepta’s influence on the grime scene is unmistakable, evident in both his solo projects and contributions to the musical collective BBK (Boy Better Know). His groundbreaking album ‘Konnichiwa,’ released in 2016, earned him the prestigious Mercury Prize Award, solidifying his place as a heavyweight within the music industry.

With the impending release of ‘Gas Me Up (Diligent)’ this month and the promise of ‘Knife and Fork,’ Skepta’s return is set to make 2024 an exceptional year for grime enthusiasts.

This exciting announcement comes after both artist’s recent album releases. Peckham-born Giggs released his sixth studio album, Zero Tolerance in August of this year which featured a collaboration with Diddy on the song, ‘Mandem‘. Diddy recently released his fifth studio album, The Love Album, which features works and collaborations with some of the best names in music and which arrived 17 years after his previous album, Press Play.

Diddy took to Instagram to share his excitement, “Attention LONDON! One night only! We comin’ to make History!”.

This has not been the first show Giggs has put on for charitable purposes. In 2018, Giggs put on a show at Camden’s Roundhouse in which people could set their own price for tickets for Sickle Cell Society and the Amy Winehouse Foundation.

Similar to previous charitable events, the upcoming evening with Diddy and Giggs will also be funded by patrons where they can choose their own ticket prices.

Diddy has also recently made news by donating a large sum of money to Howard University. Ben Vinson, president of the academic institution, stated, “A monumental moment at Yardfest! Thank you Diddy, for your incredible generosity and support of Howard University. Your million-dollar contribution will make a profound impact on our students and community. We’re honoured to have you as a part of our Bison family.”

This year marks the 15th year anniversary of Giggs’ debut studio album Walk In Da Park. This album has been seen as one of the most influential in the British hip-hop scene and even helped spawn a sub-genre called ‘Road Rap’.

Diddy’s rise to stardom has been as tumultuous as it has been successful. Releasing music which has topped the charts, won awards and has earned Diddy international fame despite receiving consistently mixed reviews has not stopped this hip-hop legend from performing and writing.

Diddy has recently taken to social media to announce his film, ‘Off The Grid’, stating, “The Movie “Off The Grid” starring Sean Diddy Combs & Eva Apio coming to a theatre near you. Inspired by The Love Album.”

Between Diddy and Giggs are years of brilliant performances and shows which they are sure to bring next week at O2 Shepherd’s Bush Empire. You can find tickets here.