Last week on July 3, Skepta posted “I want to clash an American rapper” on X, to “get this UK/US rap debate sorted”. In following posts, he selected some lyrical lineups to battle it out. In full, he suggested Chip vs Kendrick Lamar, Dave vs Lil Wayne, Central Cee vs Jack Harlow, Queenie vs Megan Thee Stallion, JME vs Tyler, the Creator, Eminem vs Ghetts, Lancey Foux vs Travis Scott, Youngs Teflon vs Meek Mill and Blade Brown vs Pusha T.

I wanna clash an American rapper anyway, finally get this UK/US rap debate sorted.

— Big Smoke – (@Skepta) July 3, 2025

Skepta even put himself forward for a clash with a surprising opponent: friend and longtime collaborator, A$AP Rocky. Some fans were confused at the idea given the two’s close relationship, but Skepta emphasized that the competition is all in good nature. “It’s not beef, Rocky is my family,” he posted. “Rap is a sport, same way we have dissing matches on the block we can do it on record.” He wrote that it’d be a “fire clash,” between him and Rocky, with “No violence, just bars, punchlines and counteractions.”

The Tottenham grime veteran also argued that the Brits would have the upper hand in this match up, as they’ve gotten to know the styles of their American counterparts over the years, whereas UK rap has been under appreciated (and sometimes unnoticed) by US artists and fans: “The average American rapper don’t even listen to UK rappers, but we’ve listen to them (for years) and that is exactly why the UK can’t lose”

While none of the proposed clashes have been confirmed, American rapper Joyner Lucas confidently came forward to join in battle, posting on X: “The moment I’ve been waiting for… say the word, Joyner Lucas vs Skepta #UKvsUS”

The moment I’ve been waiting for… say the word, Joyner Lucas vs @Skepta #UKvsUS pic.twitter.com/G78knC2ySE

— Joyner Lucas (@JoynerLucas) July 4, 2025

In response, Skepta goaded Joyner, while offering him some respect for stepping up to the plate. In a short video, he said: “I’m gonna respect the fact that you stood up and said something. The first man, you get me? But this is just another example of the ignorance. Jonah, if you was from the UK, fam? Quiet, bro, understand?”

“So, when I make my diss track for Rocky, I’m gonna give you two bars and then make one of the young Gs just rub you out… I didn’t do the work that I did for Jonah Lucas just to be saying my name anyhow. I got diss track on YouTube with 30 million views, no ad-libs. It’s levels, bro.”

Skepta responds to Joyner Lucas calling him out to battle him:

“You make up the numbers out there”

“When I make my diss track for A$AP Rocky I’m gonna give you 2 bars”

“I didn’t do all the work I did my life just for Joyner Lucas to be saying my name” pic.twitter.com/eYyiu1YU9C

— Ahmed/The Ears/IG: BigBizTheGod (@big_business_) July 6, 2025

Skepta recently made a surprise appearance at Glastonbury, filling in last minute after Deftones dropped out of their set. You can read our coverage on that here.

This case is separate from the ongoing case against group member, Mo Chara, where he was charged with terror offences for showing support for Hezbollah and Hamas, recognised terror organisations where expressing support for them is illegal in the UK. In a concert in November last year, Mo Chara was accused of displaying the flag for Hezbollah “in such a way or in such circumstances as to arouse reasonable suspicion that he is a supporter of a proscribed organisation.” According to prosecutors. As well as this, he was chanting “Up Hamas! Up Hezbollah!”

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This article’s charge instead relates to alleged footage from 2023 of one band member saying “The only good Tory is a dead Tory. Kill your local MP”.

In a statement issued to The Irish Times by the Met Police last Sunday (29 June), they say: “A thorough investigation has now been completed by detectives from the Counter Terrorism Command, which included interviewing an individual under caution and seeking early investigative advice from the Crown Prosecution Service. 

“A range of offences were considered as part of the investigation. However, given the time elapsed between the events in the video and the video being brought to police attention, any potential offences were beyond the statutory time limit for prosecution.

“Relevant indictable offences were considered by the investigation team and, based on all of the current evidence available, a decision has been made that no further action will be taken at this time.”

Kneecap’s controversies span beyond British Conservative MPs however, as Labour leader and UK Prime Minister Keir Starmer recently urged for Kneecap to be banned from Glastonbury, where they performed last Saturday, 28 June. He told The Sun: “No, I don’t (think Kneecap should play), and I think we need to come down really clearly on this.

“This is about the threats that shouldn’t be made, I won’t say too much because there’s a court case on, but I don’t think that’s appropriate.”

Kneecap’s response to the PM’s comments went as follows: “You know what’s ‘not appropriate’ Keir?! Arming a fucking genocide… Fuck The Sun.” They then expressed solidarity with the organisation Palestine Action.

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Kneecap have received an outpour of support from fans and musicians alike, including Pulp, Kae Tempest, CMAT and Massive Attack.

The band are due to perform their “biggest headline show outside of Ireland” on 18 September at the OVO Wembley Arena. You can find your tickets here.

A press release delves into the new styles Carner is exploring. ‘all I need’ is an upbeat, indie-influenced track with poetic, metaphorical lyrics about searching for peace of mind. ‘in my mind’ takes a more relaxed approach, with a slow tempo and instrumentation that wouldn’t feel out of place on a King Krule record.

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The statement says the two new singles mark a musical change for Carner, pairing hip-hop with alternative sounds inspired by bands like Big Thief, Idles and Fontaines DC. It also says the move has taken “his entire career to find the confidence to explore”.

It also provides some context behind the stylistic shift and the recording process: “After inadvertently forming a band around his ‘Hugo’ tour – a dream of Carner’s throughout his life – the introspective jam of ‘in my mind’ sees Loyle step outside of his comfort zone, whilst also centering on what matters. The track was recorded with Loyle’s son sat on his shoulders, holding lyric sheets that in themselves connect generations of men – what you pass on, and what you’re able to let go of.”

The new songs are the first solo offerings from Carner since his album ‘Hugo’, a sample-heavy hip-hop affair featuring production from legendary producers like Madlib and Alfa Mist, reaching no. 3 in the UK album charts.

Loyle Carner’s career has seen him become a celebrated name in UK hip-hop. He studied acting at Brit school in his younger years, before dropping out to pursue music after the passing of his stepdad. He managed to secure some support slots with high-profile names like Joey Bada$$, MF Doom, Kae Tempest and Nas, while gathering a buzz on BBC radio shows. His 2017 debut album, ‘Yesterday’s Gone’, received widespread critical acclaim, and gathered him a Mercury Prize nomination.

Since then, he’s released two other studio albums, been nominated for multiple BRIT and MOBO awards as well as 2023’s Mercury Prize, had his music featured on the video game FIFA 20, and is now taking an opportunity to get back to his dramatic roots – he’s recently been announced as part of the cast of Mint, a new BBC drama from BAFTA-nominated director Charlotte Regan.

The upcoming tv-series is described by the BBC as “a darkly comic and unconventional drama about a crime family’s inner life, told through Regan’s unique and distinctive voice. It explores the question of what love might feel like when everyone outside of your family is terrified of you.”

The Croydon rapper has recently been confirmed for Glastonbury 2025, set to headline ‘The Other Stage’. You can find our latest coverage on the festival here.

A press release says that the show will see the legendary group “take the stage for a night of politically charged, high-energy hip-hop, celebrating their legacy”.

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In the same release, Public Enemy frontman Chuck D shared his excitement for the upcoming show: “We are honoured to have this opportunity to stand on the Royal Albert Hall stage and perform under the same renowned roof that the greats from Hendrix to Pavarotti, from the Beatles to my brothers Cypress Hill have. Thank you, London. We’ll see you soon.”

The concert will be the first UK show that Chuck D, Flava Flav and the crew have played in over a decade. Their first UK show saw them step to the stage at the Hammersmith Odeon in London in 1987 alongside LL Cool J and Eric B & Rakim. A few years back, Chuck spoke to NME about their memories of the tour: “We knew that the other Def Jam acts we were playing with would see the UK as being a drop-off for them, because in the States they were revered.

We went in there like we were going to take everything else in the world. We did things like we did in the United States, like we’d play the concert and then be in the tube right after the concert with the people. Or we’d rally the people in the streets before the concert. We wanted to spill blood on the stage.”

He also spoke to The Guardian in 2022 about Public Enemy and their impact here in Britian: “The English language had taken over the world, so we thought: why not plug hip-hop into it? The British had beaten the English language into so many cultures; bringing rap music back to the UK was our British invasion.”

Public Enemy have kept their schedule quite clear over the past few years, playing gigs here and there in the US. The group have just confirmed themselves as support for Guns ‘N’ Roses on their 2025 tour, alongside Rival Sons and Sex Pistols.

Tickets for the show will go on sale this Friday (April 4) at 9am. You can visit here to view and purchase tickets.

Following his debut album, released on January 24, it is no surprise that London rapper Central Cee claims the No. 1 spot on the Charts this week. His collaborative single ‘GBP’ with Atlanta rapper 21 Savage has debuted at the top of the Hip Hop and R&B Charts, also securing No. 6 on the UK Singles Charts. The track’s success underscores its significance as a transatlantic collaboration, blending UK and US rap into a confident, gritty single.  

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Beaten by ‘GBP’ for the top position is the Weeknd and Playboi Carti’s second collaboration ‘Timeless.’ Opening with retro synths that evoke 1980s video game soundtracks, Carti’s laid-back flow paired with The Weeknd’s melodic sensibility has helped the song go viral particularly on TikTok. 

‘Denial is a River’ stands out as a key track from Doechii’s 2024 album ‘Alligator Bites Never Heal.’ The song blends personal narrative with broader themes of self-deception and betrayal. The 1990s Hip-Hop influences, combined with conversational dialogue at the beginning of the track, give the single a reflective tone, propelling it to No. 3 on the Hip-Hop Charts this week.  

A thread of visuals that Tyla released this year from her debut album, “Tyla.” https://t.co/YwblUTVUtE pic.twitter.com/yTSoIVwbrE — Camp Fit Pics (@CampFitPics) December 3, 2024

South African singer Tyla brings her vibrant sound with her song ‘Push 2 Start’, released in October 2024 as part of the deluxe edition of her debut studio album. The reggae-infused afrobeats blended with amapiano-R&B elements create infectious rhythms. Lyrically, the song is packed with metaphors, particularly surrounding cars and driving, emphasising her desire for a committed and engaging relationship.

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‘Luther’ marks the eighth collaborative track between Kendrick Lamar and SZA, released last year ahead of their USA Tour this April and Superbowl Halftime Show. The love ballad blends contemporary R&B and Hip-Hop elements with lush string sections and 808 beats. Lamar delivers a heartfelt confession of love, while SZA’s choruses offer a woman’s perspective, adding depth to the storytelling.   

 

 

 

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SZA also claims sixth position with the track ‘BMF’, from her deluxe album SOS Deluxe: Lana. The song merges R&B and dance, with a retro bossa nova feel that transitions into a more upbeat, transformative sound. Drawing inspiration from ‘The Girl from Ipanema’ and Journey’s ‘Don’t Stop Believin’, ‘BMF’ exemplifies SZA’s ability to blend various genres with infectious energy and relatable lyrics. 

Taking seventh spot is American artist Tyler the Creator and English singer Loly Young with ‘Like Him’. From Tyler’s seventh studio album, ‘Chromakopia’, the song delves into Tyler’s absent father and the impact of this absence on his identity. It is characterised by soulful elements and piano-led production, creating an emotionally charged atmosphere and making this an introspective exploration of personal identity. 

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Another standout track from Kendrick Lamar’s 2024 album ‘GNX’, ‘TV Off’ featuring Lefty Gunplay, takes the eighth spot on the charts. The song critiques societal norms and materialism, with the recurring phrase “turn this TV off” acting as a metaphor for disengaging from mindless consumption. This single showcases Lamar’s continued influence in the genre.   

NIGHTS LIKE THIS. pic.twitter.com/sFjF3eHEzc

— The Kid LAROI Updates (@thekidlaroii) January 11, 2024

The Kid LAROI’s viral hit ‘Nights Like This’ claims the No. 9 spot, continuing its impressive 32-week run on the Hip-Hop and R&B Charts. Its melancholic yet catchy blend of pop-rap and R&B features atmospheric synths and moody bassline, making it one of the standout tracks on his ‘FCK LOVE (Savage)*’ album released last year

Finally, The Weeknd’s ‘Save Your Tears’ holds strong on the UK Charts despite being released as part of his 2020 album ‘After Hours’. The track’s blend of retro synth-pop and new wave influences, along with its heavily reverb, auto-tuned vocals, add a dreamy, detached feeling and has contributed to its continued success on the charts. 

This week’s chart positions highlight the importance of collaborations between artists and emotional storytelling shaping the modern Hip-Hop and R&B scene. As artists continue to push boundaries and experiment with new sounds, the charts serve as a reflection of the exciting and diverse musical landscape of today.

Coldplay’s ‘Fix You’ from their third studio album ‘X&Y ‘ has become one of the band’s most iconic and emotional tracks. The ballad, which builds from a minimalistic arrangement to a grand, powerful climax, explores themes of healing and resilience. Chris Martin, lead singer of Coldplay, revealed he found inspiration for the track after his father-in-law (actor Bruce Paltrow) died, and stated he’s most proud of this song “because it’s so unlikely that that song would have come out of that period.” The song continues to resonate deeply with listeners and has become a staple on their ‘Music Of The Spheres’ Tour. 

Gorillaz’s ‘Dare,’ featuring Shaun Ryder, showcased the British band’s signature mix of Dance-Pop, Funk, and Electronic elements. The track charted in the Top 10 of the UK Singles Chart for four weeks and remains one of the most popular songs in Gorillaz discography. Its iconic music video and animated visuals further solidified the band’s status as pioneers in blending music with visual art.

The Black Eyed Peas’ ‘Pump It,’ from their album ‘Monkey Business’, is renowned for its sample from Dick Dale’s ‘Misirlou’. Blending Hip-Hop, Dance, and Rock elements, the song became a club anthem and was a commercial success, charting in multiple countries including the US, the UK, and Australia. The hit single contributed to the American group’s status as one of the best-selling musical acts of all time. 

‘Hip’s Don’t Lie’ by Shakira, featuring Wyclef Jean, was released as a single from the reissue of Shakira’s album ‘Oral Fixation, Vol. 2′  and topped charts across the world, reaching No. 1 on the UK Singles Charts. Notable for its fusion of Latin pop and Reggaeton, the song and accompanying music video have became a global phenomenon. Shakira’s performance of the track at the 2006 FIFA World Cup closing ceremony solidified her status as an international icon.

James Blunt’s ‘You’re Beautiful,’ from his debut album ‘Back to Bedlam’, became a worldwide hit in 2005 and claimed the UK Singles Chart No. 1 position for five weeks. The song’s emotional lyrics, simple instrumentation, and sincere delivery made it one of the most memorable ballads of the year. It’s commercial success contributed significantly to the success of ‘Back to Bedlam’ which became one of the best-selling albums of all time and released it’s 20th Anniversary Recycled Vinyl and CD last year. 

Beaten to the No.1 spot in the UK by Blunt’s ‘You’re Beautiful’ was Kanye West’s ‘Gold Digger’, featuring Jamie Foxx. The song’s catchy, upbeat production and distinctive sample from Ray Charles’s 1954 hit song ‘I Got a Woman‘ creates a memorable soulful feel. It was widely praised by critics for its catchy beat, clever lyrics, and social commentary, seen as a prime example of Kanye’s ability to blend Hip-Hop, Soul, and satire into a hit song.

Kanye West’s “Gold Digger” feat. Jamie Foxx has surpassed 1 billion streams on Spotify. It’s Jamie Foxx’s first song to reach this milestone, and Kanye West’s fifth. pic.twitter.com/ZKOoyHb1n0

— Talk of the Charts (@talkofthecharts) November 9, 2023

Rihanna’s debut single, ‘Pon de Replay,’ was also snubbed of UK No.1 by Blunt’s hit single, and introduced the Barbados singer to the global music scene. With its Caribbean dancehall rhythms, reggae-inspired beats, and a fusion of Pop and Reggaeton elements, the song established Rihanna as a rising star, marking the beginning of her illustrious career.

Franz Ferdinand’s ‘Do You Want To’ was the hit single from their second album ‘You Could Have It So Much Better’ and cemented their status as leaders of the 2000s Indie Rock Revival. Its catchy hook and Post-Punk influences helped the band gain mainstream popularity as the single soared to the Top 10 in various countries, including the UK.

The Pussycat Dolls’ ‘Don’t Cha’, featuring Bust Rhymes, was another standout single from 2005, blending Pop, R&B, and Hip-Hop into a catchy, danceable anthem. At a time when music videos were a crucial platform for artists to express their visual identity, the iconic choreography in the ‘Don’t Cha’ music video solidified the track’s place in pop culture. Equally, the song’s playful lyrics propelled the American girl group to stardom as it claimed No.1 position in the UK for three weeks. 

Lastly, ‘Ghetto Gospel’ featuring Elton John was released as a single in 2005, a year after 2Pac’s posthumous album ‘Loyal to the Game’, produced by American rapper Eminem. The song’s fusion of 2Pac’s iconic Rap style with Elton John’s soulful vocals was groundbreaking and exemplifies the ability of music to transcend genre boundaries. As a result, it achieved global success, peaking at No.2 on the UK Singles Chart. The track is poignant not only for its themes of struggle and redemption but also as it marked the end of 2Pac’s posthumous releases.

The year 2005 was a defining moment in music history, a turning point in a decade filled with innovation and creativity.

These 20 songs exemplify cultural movements in the industry during this time: with Hip-Hop releases catalysing its rise to pop culture; the emergence of Neo-Soul and continuous evolution of R&B; Latin Pop’s transition into mainstream; the surge of Pop-Punk into global charts; the Indie Rock Revival, which reshaped how Rock music was approached; and the increasing popularity of EDM.

Additionally, the music industry was revolutionised by the rise of streaming platforms, enabling artists to connect directly with fans and increasing the impact of music videos on pop culture. The accessibility of DAWs (Digital Audio Workstations) empowered musicians to create and produce high-quality tracks entirely digitally and in home-studios. Meanwhile, the growth of MP3 players made music portable, changing the way music was consumed and enjoyed – a shift that still resonates today.

These cultural movements not only shaped the decade but continue to influence music 20 years later. The 2000s undoubtedly reshaped the music industry, the way artists create and share music, and the way it is consumed, laying the groundwork for the music industry today.

While Pop dominated the charts, other genres were growing into mainstream forces such as Hip-Hop, Rock Revival, and Latin Pop. Pioneering platforms like iTunes and YouTube – also celebrating its 20th anniversary – laid the foundation for today’s streaming-driven music culture. Several tracks of this era have risen to anthem status, each shaping their respective genres. 

‘Dakota’ by Stereophonics was one of the most notable releases and is sure to be a highlight on their upcoming tour. Blending the band’s characteristic classic Rock sound with modern Rock elements, the song marked a significant shift in their musical direction. It achieved commercial success, reaching No.1 on the UK Singles Chart, and played a crucial role in reaffirming the relevance of guitar-driven rock during a time when pop and electronic music were dominant. 

‘Dakota’ has received a shiny new makeover, the official music video is now Remastered in 4k HD. Check out the full video on YouTube now! – https://t.co/1H6QU1emJC pic.twitter.com/DD1gXfhmEP

— stereophonics (@stereophonics) September 12, 2024

Another standout track of 2005 was Akon’s ‘Lonely’ – a track showcasing the rapper’s distinctive blend of R&B, Hip-Hop, and Pop. Its instantly recognisable hook is a pitch-shifted, sped-up sample from Bobby Vinton’s ‘Mr. Lonely’ (1962). ‘Lonely’ played an important role in pioneering Hip-Hop’s presence in mainstream music, topping the charts in multiple countries, including the UK, Australia, and Germany.

The second single from Oasis’ album ‘Don’t Believe the Truth’ made its mark in 2005. ‘The Importance of Being Idle,’ is widely regarded as one of the standout tracks from the album, and reflected the band’s ongoing love for British Rock, incorporating elements reminiscent of The Beatles’ Psych-Pop era. It debuted at No.1 on the UK Singles Chart and remains a concert staple, further cementing Oasis’ legacy in Rock music. Fans can hope it will be featured on the setlist for their 2025 Tour. 

Nizlopi’s ‘JCB Song’ is a distinctive track reflective of the UK’s acoustic and indie music scene in the mid-2000s, introducing a more acoustic, Folk-inspired sound to mainstream audiences. The track’s simple arrangement of guitar, bass, and piano, combined with a catchy melody and relatable themes of childhood innocence, resonated widely, and propelled the track to No. 1 on the UK Singles Chart.

Daft Punk’s ‘Technologic’ from ‘Human After All’  became a fan favourite despite not being released as a single. The song’s minimalist electronic production, robotic vocals, and repetitive, hypnotic lyrics captured the essence of the French duo’s unique style and their exploration of the relationship between technology and modern life. ‘Human After All’ reached the Top 10 in the UK Albums Chart and was certified gold in France within the first few weeks of its release.

‘I Bet You Look Good on the Dancefloor’, the debut single by British Rock band Arctic Monkeys, topped the UK Singles Chart, a remarkable achievement considering it gained popularity largely through internet attention and word of mouth, without traditional promotion from a major record label. Driven by Garage Rock influences, the track’s raw sound, energetic guitars, and driving rhythm, illustrated the core of Indie Rock in the mid-2000s.

Arctic Monkeys – I Bet You Look Good on the Dancefloor (Glastonbury 2023) pic.twitter.com/tiAR1T95lX

— Portal Arctic Monkeys (@portalmonkeysbr) June 24, 2023

‘Hung Up’, from Madonna’s 2005 album ‘Confessions on a Dance Floor’, was a cultural landmark, fusing high-energy dance-pop with a disco influence, evident in its upbeat tempo, funky bassline, and synth-heavy production. The track is built around the sample from ABBA’s ‘Gimme Gimme Gimme (a Man After Midnight)’ with the repetitive, memorable hook “Time goes by so slowly”. It quickly became a global success, topping the UK Singles Chart and reaching No. 1 in over 40 countries.

Damian Marley’s ‘Welcome to Jamrock’ blended Reggae, Dancehall, and Hip-Hop, providing a powerful reflection on social, economic, and political issues in Jamaica. The groundbreaking track showcased his ability to merge Jamaican rhythms with contemporary global sounds and helped introduce Marley to a wider audience. Landing in the Top 40 on the UK Singles Chart, the single marked a breakthrough in the UK music scene.

Robbie Williams also made waves in 2005 with his song ‘Tripping’ from the album ‘Intensive Care’. The track’s gritty guitar riff and introspective lyrics highlight a shift from Williams’ earlier Pop sound, exploring themes of disillusionment and the emotional challenges of fame (a central topic in his recent biopic). The song reached No. 2 on the UK Singles Chart, further solidifying Williams’ place in the British Pop music landscape.

The Game and 50 Cent’s collaboration ‘Hate It or Love It,’ from The Game’s debut album ‘The Documentary‘, is widely regarded as one of the standout tracks of the 2000s Hip-Hop era. The track’s G-Funk inspired beat and soulful melodies played a significant role in defining the sound of West Coast Hip-Hop in the mid-2000s. Peaking at No. 4 on the UK Singles Charts, its commercial success helped solidify The Game’s place in the Rap scene. As 50 Cent prepares for two UK appearances in 2025, fans can expect to hear similar nostalgic hits feature on his setlist. 

These are 10 of 20 songs that stand out as monumental releases of 2005, highlighting the diversity of chart-topping hits during the mid-2000s. Their enduring legacy continues to resonate, with these tracks not only remaining staples in playlists but also serving as inspiration for modern musicians.

The remaining 10 songs will be explored tomorrow.

In the seasons closing episode, Layyah left Kenny Allstar speechless with her final freestyle, giving an emotional performance with soulful hooks, operatic backing vocals and verses detailing struggles with depression and friends who’ve passed away, as well as confidently asserting her ability, rapping “I was born for this, I was meant for this.”

@layyah_2000 @rapgameukbbc SEASON 6 WINNER I’m completely overwhelmed from the support I’ve received since yesterday’s final of @rapgameukbbc it’s been a journey and the people I’ve met along the way has made this so special. I can’t wait to see what lies ahead @bbcthree @bbciplayer #layyah #layyahmusic #rapgameuk #therapgame #rapfans #ukrap #artist #ukartist #fyp #raptok #foryoupage #foryou ♬ original sound – LAYYAH2000

Kenny Allstar was watching on with excitement, smiling, bopping, and giving a wheel-up halfway through the performance for her to run it again – the DJ’s highest gesture of praise for the MC’s. He told the cameras in an interview after that she was “special” and has “the potential to be a generational talent”.

Talking to BBC Newsbeat after her victory, Layyah expressed her joy at winning the renowned rap reality show. “It is a dream come true. I really do hold this title highly and want to make the absolute best of it.”

She went on to cite influences both musical and familial, noting Lauryn Hill and Little Simz as two artists she looks up to, as well as drawing inspiration from the “strong females” in her life – “My mum, my grandma, aunties, even my little sister, she’s so strong beyond her years.”

Liverpool native Haydog came in at a close second – he gave consistency throughout the whole contest, with his brand of hard-hitting, authentic street rap and hungry personality shining throughout. He even managed to secure 1^st place in a challenge co-judged by one of his greatest influences, Potter Payper.

Speaking to the Wirral Globe, he said, “Being a part of the show was a surreal experience. I feel like I have learned a lot and improved a lot as an artist. I am forever grateful for the opportunity, and I hope to inspire people through my storytelling.”

This season saw a milestone for the show, becoming the longest running unscripted show in the UK focused on Black British music and culture, across all mainstream television platforms over the past 25 years.

Hosted, judged and mentored by UK-rap stars Krept & Konan, and iconic grime pioneer DJ Target, the show has gathered a sizeable audience and accolades, breaking viewing records among under 25’s, and winning an Edinburgh TV Award for Best Entertainment Series in 2020, as well as BAFTA and RTS Television nominations.

In an interview with the BBC during previous seasons, Target says “I think the show is super important. The fact that the BBC commissioned a show like this and let us bring what we bring to the table in terms of knowing how to make this authentic, which was one of the main things we wanted when we got on board.”

As the first female MC to take the top spot, Layyah hopes her win can help to make change in the male-centric industry. “In the music scene, there’s a bit of a boys club. The guys stick together, not so much the girls. So there should be more support for the females.”

All episodes of The Rap Game UK can be streamed on BBC iPlayer, here.

The group known for their socially-conscious and outspoken lyricism, often delivered in a fusion of English and Irish, applied to the Music Export Growth Scheme for a grant in 2023, an arts scheme (which supported by the government) provides grants to independent music companies to promote their artists internationally. At the time, Kneecap’s application was provisionally approved by the British Phonographic Industry, before it was unveiled in June that Badenoch had revoked their application back in February.

A spokesperson for the then Business Secretary, Kemi Badenoch, argued the rejection of Kneecap’s application followed the perspective that the government did not want to hand taxpayers’ money “to people that oppose the United Kingdom itself”.

Since their ascendance in 2017, Kneecap have been under the watchful eye of the Conservative Party, previously the Conservative government, due to their conduct and ethos as a group. The trio have been subject to criticism from the Conservatives throughout the years for their highly provocative lyrics, fervent pro-Ireland stance within their discography and their blatant imagery within merchandise and touring. Their 2019 tour titled ‘Farewell to the Union’ featured a tour poster of Boris Johnson, the then-Prime Minister, on a rocket.

Kneecap’s ‘Farewell To The Union’ Tour Poster (2019)

As a group formed from a dedicated ethos of social consciousness, Irish unity and opposition to British rule, Kneecap’s DJ Próvaí arrived at the Belfast High Court hearing, on brand, in a RUC Land Rover in his signature tri-colour balaclava whilst presenting the Irish and Palestinian flags.

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As the Belfast High Court ruled the UK government had acted unlawfully against Kneecap, the group’s barrister Ronan Lavery KC said: “It is declared that the decision is unlawful, procedurally unfair, took into account immaterial considerations and failed to take into account relevant factors”.

The hearing concluded that the government would pay the band £14,250 – the grant amount they’d initially applied for. The ‘Get Your Brits Out’ trio equally split the money, donating it to two youth organisations, who work with both Protestant and Catholic communities across Northern Ireland. Despite winning the court battle, Kneecap have stated it was never about the money, instead about the promotion of equality.

In their statement posted on social media, the trio stated: “For us this action was never about £14,250, it could have been 50 pence. The motivation was equality. This was an attack on artistic culture, an attack on the Good Friday Agreement itself and an attack on Kneecap and our way of expressing ourselves.”

Continuing: “They don’t like that we oppose British rule, that we don’t believe that England serves anyone in Ireland and the working classes on both sides of the community deserve better; deserve funding, deserve appropriate mental health services, deserve to celebrate music and art and deserve the freedom to express our culture.”

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“They broke their own laws in trying to silence Kneecap… They didn’t like the fact that we are totally opposed to all they represent, embodied right now by their arming of genocide in Gaza.”

They concluded the statement: “Free Palestine! – Kneecap x” – a sentiment fit for the band whose member Móglaí Bap, only last week raised over £30,000 for Gaza food parcels by running 10km a day on their most recent tour.

This latest case between Kneecap and the UK Government illustrates the significance of the music industry in utilising art as a means of promoting equality and the freedom of expression, against restrictive societal constructs and governments.

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Die Antwoord has made notable appearances in London over the years, specifically at the Brixton Academy in 2015 and 2019. They delivered a high-energy performance featuring hits like ‘Enter the Ninja’ and ‘I Fink U Freeky’ and captivated a sold-out audiences, showcasing their trademark mix of rave beats and provocative aesthetics.

The frontman of the group, Ninja, is characterized by his aggressive rap style and sharp, often satirical persona. Yolandi serves as the band’s vocalist, contributing a unique blend of singing and rapping in a childlike, high-pitched voice. She plays a crucial role in shaping the band’s aesthetic.

Die Antwoord released a single  ‘Pokémon’ in September 2024. The track showcases their signature style, combining quirky lyrics and bold beats with references to the popular Pokémon franchise. It reflects their playful and satirical approach to mainstream culture. After their North and South American tour and the release of their documentary ‘ZEF: The Story of Die Antwoord’, the musical group is rumoured to release their sixth studio album ‘Uit De Hemel Gevallen’ ( ‘Fallen from Heaven’), at the end of 2024.

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The band, whose name translates to ‘The Answer’ in Afrikaans, blends elements of hip-hop, electronic music, and performance art. They emerged as a distinctive and controversial act within the global music scene. Their music videos and performances often incorporate references that resonate internationally, including within the UK.

Die Antwoord’s music draws on zef culture, a South African subculture associated with working-class, flashy, and irreverent aesthetics. Zef influences both their lyrics and their visuals. The group’s style combines hip-hop beats, electronic production, and satirical lyrics that frequently tackle taboo and controversial topics.

It is yet unknown what the new era will look like. The musical group has recently started fresh on their Instagram and newly joined X. The new single ‘Pokémon’ might hint at what the rest of the anticipated new album will sound like and perhaps other new tracks will be introduced at Troxy. To purchase tickets, visit Die Antwoord’s website or Dice.