OPEN LETTER - TO GRIME, FROM A FAN.

For anyone that grew up in East London when Grime was emerging there was only one place you were supposed to be on Saturday 19th March 2016 - Kano’s Made in the Manor concert in Troxy.

If I had the chance to speak Kano after his London show, I would ask him about his thoughts now about one of his most iconic lyrics from over 10 years ago - “Sometimes I have to kick myself, Because I can't believe this sh*t myself, Sometimes you see me in a daydream, Thinking can the underground go mainstream…” - Sometimes, by Kano

I grew up like most other inner-London school kids during the early 00's, whether you were grew up in Hackney, Tottenham, Peckham, Brixton, Harlesden, or Kilburn to mention a few, there was a young "black" experience we all had to navigate around. Being stopped by police and searched by the age of 12 going to school was the norm, getting into fights with other kids from different schools was casual. The knowledge that you might get caught ‘slipping’ if you walk down the wrong street at the wrong time was instilled in us.

Playing football was like an outlet for most of us; for some of us the only way to interact with another kid just like you from another area. The majority of us came from a background of working-class parents (African or Caribbean descent); the only people that we thought were ‘cool’, who resembled us and had the appearance of wealth or doing well were footballers and US rappers. More close to hand were the drug dealers, robbers and scammers; some of us went down that route, some of us didn’t.

When Grime emerged it became the new outlet for us; there were feelings suppressed that only Grime allowed us to express. We were angry, filled with aggression, and most of us couldn't exactly pinpoint why, however, the clanky beats served with unfiltered lyrics gave us purpose. Artists and collectives such as Crazy Titch, Boyz in the Hood, Dizzie Rascal, Wiley, Roll Deep Crew Double E, Nasty Crew, Lethal B, Ghetto - now Ghetts, Ruff Squad, Meridian Crew... (and that's just the tip of the iceberg) expressed what we all felt in different facets - we were able to relate in different ways; speaking fluently in hood was a skill only a few mastered but which many understood.

Pirate radio stations, Mystic FM, Heat FM, and Dejavu was like church service, especially if your favourite crew was on air. It was the first place you would get to hear your favourite artist drop new tunes and spit hot 16’s. The memory of hearing Jme x D Double E - Thuggish Ruggish dubplate for the first time and recording it on tape still remains fresh. I remember saving my pocket money so I could buy records along with my crew from Rhythm Division on Bow road with dreams to blow - obviously I did not reach the high heights.



*My most notable contribution to grime was pouring oil in ‘On The Block’ video*

With the few local Grime raves (Young Man Standing) available to us, thanks to the police’ strenuous efforts to stop any mass groups of young blacks together (#blackonblackcrime propaganda and pseudo research), the majority of us attended cautiously. Pre-gentrification Palace Pavilion on ‘Murder Mile’ (Lower Clapton Road) in Hackney was considered one of the prime locations for what police considered Grime ‘notoriety’ to mass, but to us - creative ‘hood’ stars showcasing their artistry for supporters/peers of our UK sound to release tension and skank out in unapologetic aggression.

Back to 2016, as I looked around the crowd in Kano’s concert, seeing the diverse faces from different cultures, jumping, skanking and whiling out when Kano sprays the line, ‘I’m from the hood where it’s just home, and there’s no place like home, sweet home’ - Ghetto Kayote, Kano.
It’s at that precise moment I realised how far Grime has come. That imaginary veil of caution when attending a grime gathering has long been removed.



*Kano - Ghetto Kayote - 'Game changing freestyle; this freestyle to my generation is what Stormzy -Shut Up freestyle is to the current generation'*

Grime is now international.

Seeing Skepta on the lineup for Coachella 2016, Stormzy touring the world, and Boy Better Know headlining at Wireless is unreal. I’m happy for Grime but also nervous at the same time; Grime is NOT just a trend. I want Grime like most other original fans to have longevity and international success like hip-hop but still have that raw and uncontrollable authenticity - Is it still possible in such capitalist environment? Will multiple artists be allowed to chart and talk about experiences that reflect their environment and not be shunned by the mainstream? Would they still be allowed to sell out arenas and tour the world?

*Virgil Abloh a favoured DJ and close friend of Kanye West playing a Grime set in Coachella weekend in Palm springs at the Adidas Do-Over party last year 2015.*

When Stormzy not too long ago spoke out on racism in regards to what happened at DSTRKT, my initial thought was ‘don’t get political, you have a lot to lose’ - that moment made me realise what Grime is. Grime is from the streets and unapologetic, you say what you like, how you like, and when you like.

Grime is currently in an amazing position, Grime should learn from our US counterparts like Dr. Dre, Damon Dash, P.Diddy, Jay - Z, Cash Money, Michael Jackson and so many more. They put themselves into positions to have ownership of their sound, what they create and most importantly, what they understand as the ‘business’ of music.

As Grime moves to the mainstream and builds relationships with established brands, I could only wish the artist more prosperity and hope they take and keep ownership of their art.

My initial intention was to write a review of Kano’s Made In The Manor concert. This open letter is not meant to take any light away from his amazing performances. He owned the night and it was truly another important page to add to Grime’s history book.

Writer & Photographer - @Kofi Dwaah

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