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.