No stranger to the UK having performed here on numerous occasions [and even banned once because of drug and firearms convictions in the US], it is with goodwill and excitement that Snoop Dogg returns to perform on London’s 02 Arena stage. After possibly the longest line up of opening acts I’ve ever seen, including the likes of Yasmin, Chipmunk and Radio 1's MistaJam, the night’s main attraction strolls casually onto the stage.
Of all the proposed jumps from grimy street rhymer to polished, radio friendly 'superstar', the expected transformation of Jermaine Scott better known as Wretch 32 was always going to be intriguing. For the north London rapper's immense lyrical performances and fondness for conceptual material seems vacant within many of the successful acts from the urban pop market. But with three exceptional chart singles, an abundance of festival appearances plus receiving the nod of appeal from both the underground and mainstream radio platforms, Wretch stands in a position which very few have been able to reach. But can Black and White, the second album from Mr 32 paint a more vivid picture than the current hoard of paint-by-numbers projects on offer from the rest?
Keri Hilson doesn’t particularly care what you think, especially if you think she’s wrong. The 28-year-old is a regular (and not always unwitting) magnet for controversy but claims to be nonplussed by the chirping of her naysayers. “I don’t feel backlash”, she tells SoulCulture bluntly, “I rarely feel it”.
Given that in the past two years, Hilson has been attacked for her choice of collaborators, accused of cynically sexing-up her image, and disparaged for taking perceived indirect shots at her female peers, it’s lucky she deals so level-headedly with the running commentary.
‘Transition: The process or a period of changing from one state or condition to another.'
For some, however, its definition ‘in music terms’ may be seen as the pursuit of success, put ahead of keeping one’s musical integrity. Whatever meaning one chooses to believe, it’s without question a term which defines the current position of Brit emcee, Chipmunk.
From the young tearaway MC to the poster child for the tabloid-christened ‘Brap Pack’, the development of the artist as well as divide between the supporters and the doubters continues to grow with each new release. But Chippy’s ascension up the list of power players in the scene has landed the North London dynamo in positions of grandeur which, as he hopes, will result in much greater works to solidify his position and shut the ‘haters’ up as well. So it’s album number two which looks set to confirm Chipmunk's transition - the question that remains is just what his transcendence has resulted in?
With collectives and sets being on the up again within Grime and Hip Hop, one UK trio who have been consistent in their few years of existence make a welcome return to the mixtape scene. Those Marvell Boys - Double S, Shocka and Vertex - have collectively torn apart sets and live PAs, as well as releasing a consistent series of Marvell FM mixtapes with its mixture of 140 beats, Hip Hop remakes as well as blazing freestyles which have pushed them up the rankings of the ‘top guys’ in the scene. Now on the fourth installment of the Marvell FM catalog, can North London’s impressive trio successfully stretch the series beyond the trilogy?
Since his last studio album, Graffiti, Chris Brown has worked on a host of features and mixtapes and kept his PR machine turning, trying to repair the damage done by the infamous incident with Rihanna. Now, Breezy puts forward his latest effort in the form of his fourth studio album, F.A.M.E.
Unfortunately, this album doesn't do much to reinforce the promise Brown showed in his early days. His debut and sophomore albums suggested he had a lot to offer and would take up the mantle of one of the world of music’s best performers and artists - however, this album is not an example of someone who could carry on the legacy of the likes of Michael Jackson or even Usher.
On 25th January MTV brought their Blackberry sponsored Brand New for 2011 project from the TV and internet screens and live to North London’s KOKO. The first night of the MTV live shows, the sold-out concert featured an urban line-up with Tinchy Stryder headlining [pictured above].
I’m continually impressed with how many mobile phone and technology companies are beginning to understand the real commercial prowess their technology can enable. Blackberry, who’ve long-recognised that their unique selling point is communication, invited audience members to add the event’s special Blackberry Messenger pin to send messages, which appeared on a big screen between performances. Performances were also segued with VTs of the Brand New for 2011 candidates, which include two of the night’s acts, RD and Jessie J.