A very modern kind of pop star Skepta is at the top of his game.
Reinventing the form he has taken grime and recreated and remoulded it into his own and created a bona fide international success out of that very British form.
The very British melting pot music and the most cutting edge form of this decade with its amalgamation of dub and hip hop and garbage slowed down to a very sexual groove is the real sound of the streets. That steaming summer’s day when the city windows are wide open and all the multinational styles of a whole world music sizzling the circuitry floods the air – it’s like Nigel Farage’s worst nightmare!
His fresh breakthrough forth album, Konnichiwa is setting the staple in the form and is the soundtrack to the best party in town as the knowing queue snakes around the back of the wonderful Old Granada Studios – the best new venue in town and perfect backdrop to Skepta. The crowd are totally involved in this, all decked out in their hero’s merch – he sure knows how to sell his brand with his current elloSkepta.com line a smattering of vintage Boy Better Know that are ready to sweat to the monster, slowed down grooves that are hip grindingly sexy.
From the opening Konnichiwa with its spooked stripped down groove to the closing zig zag groove of Man they take the roof off the place. Every song os treated like a huge hit in a time when the word ‘hit’ had almost become redundent. These are the anthems of 2016 and the audience has learned them off by heart – a remarkable feet for a seven day old album and a tour only announced week ago – its psych a measure of the sheer scale of the Skepta’s success that he can sell these places out in such devotion. A devotion that, in these bombarded by media times, he cuts through the digital noise and proves that you cans till be a big pop star on your own terms that makes Skepta the new king of England.