{"id":974041,"date":"2019-12-13T08:30:03","date_gmt":"2019-12-13T15:30:03","guid":{"rendered":"https:\/\/www.rollingstone.com\/?p=925641"},"modified":"2019-12-13T08:30:03","modified_gmt":"2019-12-13T15:30:03","slug":"qa-stormzy-on-u-k-election-going-mainstream-with-grime-making-that-expensive-rap","status":"publish","type":"post","link":"https:\/\/alwaysmountaintime.com\/kfmu\/music-news\/qa-stormzy-on-u-k-election-going-mainstream-with-grime-making-that-expensive-rap\/","title":{"rendered":"Q&amp;A: Stormzy on U.K. Election, Going Mainstream With Grime, Making That \u2018Expensive\u2019 Rap"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2019\/12\/UNUSED-3W.jpg\" class=\"ff-og-image-inserted\"><\/div>\n<p>In August, the British grime star <a href=\"https:\/\/www.rollingstone.com\/t\/stormzy\/\" id=\"auto-tag_stormzy\" data-tag=\"stormzy\">Stormzy<\/a> was fresh off his first U.K. Number One (<a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/watch-idris-elba-cameo-stormzy-video-vossi-bop-827636\/\">\u201cVossi Bop\u201d<\/a>), a historic headlining set at Glastonbury and was climbing the U.K. Singles chart again. The song was a remix of <a href=\"https:\/\/www.youtube.com\/watch?v=XJQy_R9CYR4\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">\u201cTake Me Back to London,\u201d<\/a> a collaboration with Ed Sheeran, but it wouldn\u2019t reach Number One without some controversy. As it rose, Wiley, one of grime\u2019s originators and most revered figures, <a href=\"https:\/\/www.standard.co.uk\/insider\/alist\/wiley-and-ed-sheeran-beef-why-the-grime-star-is-feuding-with-the-perfect-singer-and-drake-a4238696.html\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">sent out a series<\/a> of since-deleted subtweets: \u201cI\u2019m sick of people using grime to look good for two minutes\u201d and \u201cAnyone who uses us and our sounds are culture vultures.\u201d A joke about breaking out his \u201cguitar and foot pedal\u201d made the subject of Wiley\u2019s ire clear (though he also leveled the same cultural appropriation accusations at Drake). In a <a href=\"https:\/\/www.bbc.co.uk\/programmes\/articles\/4lNpJXx90mjS9PkNmp14P7c\/the-best-quotes-from-wiley-s-tell-all-1xtra-interview-with-dotty\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">follow-up interview<\/a>, Wiley doubled down and said Sheeran had made things difficult for him back when they collaborated in 2011, a claim <a href=\"https:\/\/twitter.com\/1Xtra\/status\/1173607156731588610\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">the pop star denied<\/a>.<\/p>\n<p>Stormzy, for his part, responded first on Twitter \u2014 \u201cNo Wiley you know Ed been doing this from early, been a real one from early, you can\u2019t question that\u2026 You know I love you and respect you brother but nah don\u2019t do that\u201d \u2014 and then on record. Rap battles and clashes are a key part of grime\u2019s DNA, but Stormzy did the furthest thing from drop a diss track: \u201cWiley Flow,\u201d released a few weeks after the dust-up, was a blistering homage that opened with a sample of Wiley himself discussing his legacy, and later found Stormzy lovingly interpolating two classic Wiley tracks, \u201cBad Em Up\u201d and \u201cNightbus Dubplate.\u201d<\/p>\n<p> <!-- .l-article-content__pull--left --> <\/p>\n<p>\u201cWiley Flow\u201d now appears on Stormzy\u2019s new album, <em>Heavy Is the Head<\/em>, and caps off a telling three-song sequence that includes a song called \u201cPop Boy,\u201d featuring Aitch (who also appeared on the \u201cTake Me Back to London\u201d remix), and another tune called, <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/stormzy-ed-sheeran-burna-boy-own-it-916380\/\">\u201cOwn It,\u201d<\/a> featuring Burna Boy and, yes, Ed Sheeran.<\/p>\n<p>\u201cI did that so specifically,\u201d Stormzy tells <em>Rolling Stone <\/em>on the phone from the U.K. \u201cAs much as I\u2019m a grime MC, I\u2019m also gospel, I\u2019m R&amp;B, I\u2019m pop and I\u2019m soul. I\u2019m all these different things. Becoming a mainstream prospect, I\u2019ve always known that that doesn\u2019t go hand-in-hand with underground and authenticity, just in terms of how people perceive things. But I\u2019ve always believed in myself enough to know I can do it all.\u201d<\/p>\n<p><em>Heavy Is the Head<\/em> follows Stormzy\u2019s 2017 debut <a href=\"https:\/\/www.rollingstone.com\/music\/music-lists\/20-best-edm-and-electronic-albums-of-2017-199992\/stormzy-gang-signs-prayer-200459\/\"><em>Gang Signs &amp; Prayer<\/em><\/a> and finds him contemplating a meteoric rise that began with <a href=\"https:\/\/www.youtube.com\/watch?v=RqQGUJK7Na4\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">YouTube<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=QfRJyt3gTzo\" rel=\"nofollow noopener noreferrer\" target=\"_blank\">freestyles<\/a> over classic grime beats and hit its first true peak this summer when he became the first black-British solo act to headline Glastonbury. At the same time, he\u2019s emerged as a potent political voice, pushing for greater inclusion for people of color in Britain, launching scholarship programs and even a publishing house, Merky Books, for young writers of colors. Stormzy was active in the run-up to the U.K. general election, a prominent supporter of Jeremy Corbyn and Labour, who ultimately <a href=\"https:\/\/www.nytimes.com\/2019\/12\/12\/world\/europe\/uk-election-boris-johnson.html\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">fell to the Tories and Boris Johnson<\/a> Thursday (it\u2019s a coincidence, he says, that <em>Heavy Is the Head<\/em> was released the day after the election). Speaking a week earlier of a possible Johnson win, Stormzy says, \u201cI got asked that earlier and it was the first time it dawned on me that it could become a reality; it\u2019s not a campaign anymore. I\u2019ve got to be hopeful.\u201d<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ltNm4MdykBE?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p>Stormzy has navigated all this with a singular savvy, endearing himself to mainstream audiences without neglecting or losing the support of grime diehards and its forebears. Grime itself is only two decades old, and arguably one of the last hyper-localized styles of folk music to emerge before the internet decentralized everything. Stormzy knows its history well; it\u2019s his history as well. At Glastonbury, he stood onstage and <a href=\"https:\/\/twitter.com\/1xtra\/status\/1144742449946009601\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">read a list of names<\/a> \u2014 65 artists who\u2019d either paved the way for him or were standing alongside him at the front of grime\u2019s second generation.<\/p>\n<p>\u201cI\u2019ve reaped the benefit of what a lot of people went through,\u201d he says. \u201cIt\u2019s not even a duty; it\u2019s a natural thing where because of how I\u2019ve gotten here, it\u2019s only right that I let people know I could only exist because of this culture and these people that came before.\u201d<\/p>\n<p><strong>How was making <em>Heavy Is the Head<\/em> different from <em>Gang Signs &amp; Prayer<\/em>?<br \/><\/strong><em>GS&amp;P<\/em> was me in the studio with [producer] Fraser T. Smith for 10 months \u2014 I was in one place, making all the musical decisions, working on every phrase. This time, it\u2019s been almost the total opposite. I\u2019ve left the nest and gone all over the place. <em>GS&amp;P <\/em>was loads of different producers, but I brought them all into Fraser. This time, I went out in the world and collected different things from different producers, and I\u2019ve had to figure out the different flavors and styles and sounds that are gonna be married with my truth to make a brilliant and honest album.<\/p>\n<p><strong>In terms of beat selection, how are the two albums different?<br \/><\/strong>I wanted it to be a true musical reflection of everything I\u2019m feeling, everything I stand for and all the stories I have to tell right now. And to me that\u2019s always going to mean a vast palette because I like to think I\u2019ve got a vast personality. I\u2019m not just a hard-hitting rapper. I like beautiful songs and beautiful melody. I\u2019ve never gone into the studio with an intention that\u2019s like, \u201cWe need to make <em>this<\/em> body of work.\u201d The only way I gave myself a palette is, Fraser and I came up with some words to describe how we wanted things to go. There\u2019s a track \u201cRachael\u2019s Little Brother\u201d \u2014 one of the words was \u201cexpensive,\u201d which is a bit random. Not expensive in terms of money, just in terms of that classy, skilled, catching-all-the-pockets, brilliant flows, that Rick Ross, that Nas, that Kendrick, that Jay-Z, that <em>expensive<\/em> rap.<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/9ClYy0MxsU0?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p><strong>How do you think you improved as a songwriter, singer and rapper between these two albums?<br \/><\/strong>I was just saying, be bigger and better in everything you do. If you\u2019re gonna spray a lyric, let it be \u201cWiley Flow.\u201d When I listen to \u201cWiley Flow\u201d in my humvee, I feel like I\u2019m listening to one of the most skilled MCs in the country and the world. I found all the pockets, all the flows, I was rapping at a level I haven\u2019t rapped at. Even down to my melodies and my singing \u2014 it\u2019s not just about singing for the sake of melody. It\u2019s about, how can I use my voice? I\u2019ve got a deep voice, I love sweet R&amp;B tones, so how do I use my voice to the best of its ability? It\u2019s not about trying to hit some crazy high note; it\u2019s about staying within this certain key, this certain pocket and keeping it pure and focused.<\/p>\n<p><strong>What\u2019s your writing process like?<br \/><\/strong>I treat my music like work. You won\u2019t come to the studio and see 10 girls, loads of alcohol and a thousand people in there. When I come to make music, I come to really make music. I\u2019ll do a one to eight o\u2019clock, go home, get a good sleep, wake up, walk my dog and then come back to the studio.<\/p>\n<p><strong>Do you find yourself rewriting verses and editing?<br \/><\/strong>I don\u2019t tend to rewrite verses, because I always like to think I\u2019ve written with so much detail and care, but it can take me ages to write. There\u2019s a celebration of, \u201cOh, he wrote this in 10 seconds.\u201d But I celebrate myself for taking my time. I\u2019m not just gonna sit there and rhyme in some words. I\u2019m very hell-bent on saying something and not wasting a lyric on a rhyme just to rhyme. It has to make perfect sense.<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/QsEvM4kSkT4?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p><strong>Has launching Merky Books and working with other young authors helped you as a writer?<br \/><\/strong>My writing process is very specific to music, though to be fair, I started reading poetry again. Yrsa Daley-Ward, she\u2019s a brilliant poet and the person who got me into poetry again. I used to love it in school and becoming a musician, I\u2019m so dedicated to rapping, that I forgot there\u2019s a beautiful world of words in poetry\u2026 She\u2019s got a book called <em>Bone<\/em> \u2014 I recommend that to everyone.<\/p>\n<p><strong>Did <em>Heavy Is the Head<\/em> have a central theme from the start, or was it something you developed over time?<br \/><\/strong>This time around it was me on a really reflective, deeper, mental one. With <em>GS&amp;P<\/em>, that was always going to be a South London story. It was 23 years of my life. Up until that moment, that was my whole story. Whereas <em>Heavy Is the Head<\/em> was me going to the studio and asking, who am I, what do I have to say, what do I need to say? It\u2019s all these truths, it\u2019s all these stories about who I am today, bearing the brunt of being Stormzy. Yes, I feel like the best MC in the fucking world, but I also feel like I can\u2019t take all of this.<\/p>\n<p><strong>\u201cRachael\u2019s Little Brother\u201d feels like an emotional centerpiece \u2014 how did that song come together?<br \/><\/strong>The sample is <a href=\"https:\/\/www.youtube.com\/watch?v=4A7OiiQB77U\" rel=\"nofollow noopener noreferrer\" target=\"_blank\">Big Brovaz\u2019s \u201cBaby Boy.\u201d<\/a> They\u2019re a black-British band and they used to make R&amp;B, pop and soul, and the only reason I would know that tune and love that tune is because of my big sister, Rachael. So to use that sample, flip it, rap over it, make it pure, from the heart \u2014 as much as you\u2019re gonna talk about pain and struggle and ownership and all these other things, the goal was to just be a brilliant rapper. Then when it breaks down and I start singing at the end, that\u2019s the actual bridge of \u201cBaby Boy.\u201d<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/NMi_5SDw_Ek?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p><strong>You mention going to therapy in that song and you\u2019ve talked about mental health in the past \u2014 how has therapy and making this album helped you with everything over the past two years?<br \/><\/strong>You hear an artist talk about how music is therapy and music got them through, but for me, for the first time, I was like, \u201cWow, making this album actually helped me realize who I am.\u201d It was me understanding that every emotion I\u2019m feeling is valid. My sadness, my vulnerability is as important as my kingship and my confidence. I was embracing all things.<\/p>\n<p><strong>What did this album help you better understand about your place in the culture in Britain at this moment?<br \/><\/strong>That I\u2019m a human. I can bear different weights and responsibilities, whatever duties \u2014 role model, leadership \u2014 I can bear all that. But at the end of the day, I\u2019m just a human. It used to be a proper struggle. I\u2019d think I\u2019d have to be almighty and invincible in everything I do, and it\u2019s like, \u2018Nah.\u2019<\/p>\n<p><strong>How has being on the frontline of this struggle against racism in Britain and pushing for greater inclusion for people of color changed your perception of the world?<br \/><\/strong>It\u2019s made me understand that we live in a way more ignorant society than \u2014 well, to be fair, I always knew that, but sometimes there are very funny reminders of it. Whether it\u2019s announcing a scholarship, and I have thousands of people screaming at me, saying, \u201cHow the hell can you do that, that\u2019s so racist, why is it just for black people?\u201d And it\u2019s just like, \u201cWow, shit, who would\u2019ve thought people could be so ignorant to the fact that this is anything but racist?\u201d This is necessary, this is needed, this is important.<\/p>\n<p><strong>Was that also why it was important to have a song like \u201cSuperheroes\u201d on the album?<br \/><\/strong>One-hundred percent. Even with the distance that inevitably happens from my community, I was making sure I was talking to my people. I\u2019m always talking to my brothers. I\u2019m always saying, \u201cI\u2019m never not here.\u201d It\u2019s about having that conversation and being that person, giving some encouragement and motivation.<strong>&nbsp;<\/strong><\/p>\n<p><strong>\u201cLessons\u201d is about a <a href=\"https:\/\/www.independent.co.uk\/life-style\/dating\/stormzy-maya-jama-split-relationship-breakup-cheat-jorja-smith-a9074276.html\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">recent heartbreak<\/a> \u2014 was it difficult allowing yourself to be that vulnerable and honest on record?<br \/><\/strong>I\u2019m not just a bad boy, y\u2019know [<em>laughs<\/em>]. I sat with [that song] for a while because it\u2019s not just my truth. To put that kind of art out there, especially when I know people will interpret it and make their own version of whatever they think that truth is, as an artist I have to live with my truth and it\u2019s always going to be difficult. I wanted to give an album documenting my whole journey over the past two to three years, and that\u2019s such a massive part of my life \u2014 or was a part of my life. I had to face the music.<\/p>\n<p><span class=\"embed-youtube\"><iframe loading=\"lazy\" class=\"youtube-player\" type=\"text\/html\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/AcSh_tfQa3w?version=3&amp;enablejsapi=1&amp;origin=https:\/\/www.rollingstone.com&amp;rel=1&amp;fs=1&amp;autohide=2&amp;showsearch=0&amp;showinfo=1&amp;iv_load_policy=1&amp;wmode=transparent\" allowfullscreen=\"true\">[embedded content]<\/iframe><\/span><\/p>\n<p><strong>Now that you\u2019ve had a few months to reflect on Glastonbury, how do you think that performance changed you as an artist?<br \/><\/strong>It kind of gave me a sense of peace, in that I felt like I\u2019d reached a height where I wouldn\u2019t need to be striving for the next 10 years of my career. I\u2019m not gonna be searching for that ultimate stage, that end goal \u2014 it happened to me at 25. I\u2019m an ambitious person and, who knows, maybe I would\u2019ve proper longed for that for a long time because that\u2019s one of those things that\u2019s only reserved for a very small percentage, a very small elite.<\/p>\n<p><strong>Zadie Smith wrote a wonderful review of your performance for <a href=\"https:\/\/www.newyorker.com\/culture\/culture-desk\/stormzy-at-glastonbury-king-michael-wears-his-crown\" target=\"_blank\" rel=\"noopener noreferrer nofollow\"><em>The New Yorker<\/em><\/a> where she said, \u201cHe references his elders without entirely bowing to them\u2026 He stalks the field, wondering why not Skepta, why not Wiley, why not Dizzee, why him, why now?\u201d Do those questions weigh on you when you consider your success and the overall trajectory of grime?<br \/><\/strong>Yeah, 100 percent that\u2019s why I\u2019m very vocal in terms of embracing\u2026 or not just embracing, it\u2019s like she said, \u201cWhy not those three artists?\u201d I understand that a lot of people had to bite the bullet for me, a lot of people had to be on the frontline and take the brunt for me to be able to be an artist who can do Glastonbury. I can only exist off of the likes of Wiley, Skepta and Dizzee Rascal \u2014 I can only exist because they came. That\u2019s a major part of my story. I\u2019m only able to win a BRIT Award because Wiley didn\u2019t, you know? I guess now, we\u2019re reaching a sense where black music, black artists, who have never been paid their dues or given the recognition, so now that I\u2019ve come, perfect time, God\u2019s timing, all those stars have aligned, I\u2019ve reaped the benefit of what a lot of people went through.<\/p>\n<p> <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/stormzy-interview-uk-election-grime-925641\/\" target=\"_blank\" rel=\"noopener noreferrer\">via:: Rolling Stone<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In August, the British grime star Stormzy was fresh off his first U.K. Number One (\u201cVossi Bop\u201d), a historic headlining set at Glastonbury and was climbing the U.K. Singles chart again. The song was a remix of \u201cTake Me Back to London,\u201d a collaboration with Ed Sheeran, but it wouldn\u2019t reach Number One without some [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[76],"tags":[],"class_list":{"0":"post-974041","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-music-news"},"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-06-26 17:43:12","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"distributor_meta":false,"distributor_terms":false,"distributor_media":false,"distributor_original_site_name":"KFMU Solar Powered Radio","distributor_original_site_url":"https:\/\/alwaysmountaintime.com\/kfmu","push-errors":false,"_links":{"self":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts\/974041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/comments?post=974041"}],"version-history":[{"count":0,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/posts\/974041\/revisions"}],"wp:attachment":[{"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/media?parent=974041"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/categories?post=974041"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alwaysmountaintime.com\/kfmu\/wp-json\/wp\/v2\/tags?post=974041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}