A conversation about Grime

Hattie Collins started writing about Grime around 2003 after discovering the then-unnamed genre through her friend, journalist Chantelle Fiddy. Hyperfrank became interested in the genre as Grime transitioned from UK garage to its own lane in 2000/01.The two knew each other through their respective blogs but did not meet properly until 2008 when Laura did work for the magazine Hattie was then editing, RWD. The two met over ice cream and Hennessy and ginger (sounds weird, works well) on Zoom and reminisced about the early years and the beginning of a community that became a culture.


HC: We first met in 2008, which feels like a long time ago now! There was such a sense of community throughout the scene; of course, the MC’s and producers were all working together, but there were relationships between the writers, bloggers, photographers, stylists, designers, and videographers too, right? There was a very organic community forming in the mid-00s.

HF: It was such an interesting time because very few people were documenting the scene and even less were making money, there was never a core intent to break into the “industry” because it was so out of reach. Now you can start an Instagram, YouTube or TikTok account and build an audience quite quickly. Back then, a lot of editors and people with power would commission writers that had never stepped near a grime event to write and interview the artists. I remember Joseph “JP” Patterson (Editor's Note: Founder of Trench mag and Editor-in-Chief of Complex UK) and I staying up until 6am pitching artists that magazines, newspapers and online platforms now put on their front covers. There was a huge divide but the internet really changed that.

HC: When I pitched MCs and rappers to newspapers, I was told so many times ‘Oh, we can’t do another rapper, we had [award-winning, chart-topping] Tinie Tempah in the issue last week’. Yet they’d do pop and indie bands over and over. It’s brilliant to see grime and rap artists getting the coverage, festival stages and brand deals they deserve, but that was fought for hard by the grime MCs that came before. It was incredibly hard for the grime community to be taken seriously and to be respected by the world of mainstream media.

HC: It took a number of years, but that has changed now, thankfully.

HF: The future for grime comes down to everyone playing their position. I also feel it’s important that the really successful grime artists find ways to bring newcomers through. That said, we might not see a lot of it publicly. Behind the scenes I see a lot of support between established artists and new ones, whether providing resources, support or connection to people who might further a newcomers career. You’ve got great platforms like Girls Of Grime, Grime Originals and more building nights and platforms to bring through new talent. Then exciting emerging artists like SBK, M.I.C, Tia Talks all the way through to Mez continue to help build the future wave while Spyro. A.G, Manga, Big Zuu and Novelist build their legacies by building bridges with international grime movements in Prague, Japan, Australia, Brazil and beyond. By breaking down doors, whether you’re from Brighton, Toronto or Tokyo, you can use grime’s energy and DIY ethic as a beacon to tell your story and tap into the communities around it to help spread that story through generations to come. The legacy of grime is just getting started.