Shattering many thematic predictions that could have ruled the 2020s, identity seems to be the strongest match. In a current climate most concerned about image and perception, art forces us to look within ourselves and the construction of what we are and therefore believe. The overwhelming resurgence of what it means to be British has completely disrupted the narrative of self lately. But that’s exactly why it’s important to keep speaking about this.
Over the past year, the new discourse around the “Black British” identity has been heavily popularised within the media; let’s divulge. To be “Black British” inherently incorporates added complexity within the social construction of one’s identity; the dual nature of being both a British citizen and also a part of the African diaspora/Jamaican descent comes with a lot more unique experiences of what it means to be British. Not only rich in culture, language and perspective, being Black British often comes with a lot of misunderstanding or unexpressed feeling. Specifically in music, we’re dealing right now with a spotlight on the importance of embracing BOTH parts of the Black British identity.
Only recently has it become fairly recognised to understand the context behind the heritage of both cultures having involvement in our upbringing. To be Black British is to not understand the question “where are you from?”… This ambiguous sentence has multiple meanings which can only be understood from a dual British perspective. But that’s exactly what I’m here to talk about — the influence of this collective confusion and the beauty of the unknown meanings behind it all, focusing on its relevance to the art being produced as of late.
Two recent albums that perfectly encapsulate the embodiment of Black British culture are obviously by two Black Brits themselves. Though their art differs, the message being delivered is still being upheld. Producing work that’s ultimately authentic to who you are aligns with what it means to be Black British. To exist in a space that essentially wasn’t built for you or around you is a protest within itself — it’s proof of the resistance that has been fighting to be heard for many years.
Now let’s begin!
Jim Legxacy is an artist embellished by his quirks and layered in nostalgia. Interested in so many genres of music himself, that his own has become a sort of absurdist pop that’s so fresh in its own sound that it’s just so right. Jim has been a sort of pioneer for the current increasing interest in “Black British” culture. Utilising his own experience, Jim has created an album so deeply textured in meaning that it’s clearly ahead of its time. The maximalist sound of ‘Black British Music’ is bigger than itself. ‘Black British Music’ comes at a perfect time, with recent discourse and the aspect of most of the audience being in their youth or just coming into adulthood — BBM reflects the experience of finding structure within a community. Also the navigation of understanding who you are, which is something that is at an all-time social high for us Gen Z’s.
An album whose initials literally represent the phenomenon of the iconic BlackBerry phone and its instant messaging service could only be nothing short of iconic. In his hit single ‘Father’, Jim manages to juxtapose his living situation with his own musical endeavours: “On the block… I was listening to Mitski.” Helping us understand his own personal life — which also is relevant to so many others sharing this experience with him. It’s clear that BBM is a personal piece, yet Jim makes it accessible for so many — a clear testament to his talent. Another highlight is ‘Sun’ featuring Fimiguerrero. It’s a subtle yet enigmatic song, made for the perfect summer afters. This whole album is intertextually rich, the production utilising heavy blended installations of pop with a plethora of different genres to get this ultramodern re-design of Britpop, as it seems. Lyrically, Jim manages to effortlessly reference UK classics, adding J Hus’ classic lines in smash hit “Did You See” in ‘Sun’. But most importantly was the “Them n*ggas try send for me, envy and jealousy” — whilst also featuring the musician himself on the track. Insane work. Dave also being a Black Brit, that was also from South Ldn, on the block, probably also… listening to Mitski! Extra points. Jim adapts his personality into his choice of style as an artist very effortlessly, making his music a gem to be heard. It’s very rare to have artists that understand that their sound is unique to their own experience and not an experience that is marketable or profitable — especially in the music industry right now.
This brings me to my second success album that I think should be spoken about for many years to come: PinkPantheress’ ‘Fancy That’. PinkPantheress is a national treasure of the music scene, and also an international icon in music history, many would say. Recently receiving an honorary music doctorate for her musical impact, PP is an artist whose legacy is definitely going to last longer than her songs’ runtime. ‘Fancy That’ is obnoxiously Black British — defined by its nostalgia but also its new youthful glow. PinkPantheress matches her production with a great knowledge of electronic pop music, understanding the importance of research in her sound, especially with what she’s representing as a young Black British musician.
PinkPantheress sets the pace with her most recent mixtape Fancy That?, an ode to British nostalgia laced throughout the production. Pink creates a contemporary classic. Not only a vocal pop star but also an exciting redefinition of a prodigal engineer, Pink’s self-produced hits are a stylish exhibition of technical talent. A favourite of mine being ‘Stateside’, which is also Pink’s favourite too. It’s an exhibition of her “artistic growth,” she states — which I think is totally correct. Producing alongside The Dare, the La Roux-esque hit is a mesh of careful production and incredible lyricism. Referencing Estelle’s “American Boy” subtly is an impressive move, revealing PP’s collectively shared appraisal of the chart-topper and its obvious generational success. Highlighting how well Pink incorporates her own identity whilst referencing old classics is the song ‘Stars’, which samples Just Jack’s 2007 pop-house Starz in Their Eyes. ‘Stars’ distorts the song’s nostalgia and pushes it back to the future, making the song a redefinition of a classic for the new gen. This is a commendable talent.
PinkPantheress knows her audience and finds entertainment in the incorporation of her interests within music. A self-proclaimed stan herself, Pink has always made it known that she sees herself as just a girl in her twenties… like many. That being said, ‘Fancy That’, although her most mature release to date, plays within the axis of amusement and disarray — much like the embodiment of a girl navigating her romantic life in her early twenties. This brings us a PinkPantheress that comes across more daring, stepping out of her previous skin. ‘Tonight’ being a perfect example. Pink is more forward and fearless. ”Fancy That is a seasoned mixtape that engages with the current age of sex and love, whilst managing to encapsulate the underlying sentiment of the 2000s. PinkPantheress also holds importance in the representation of the Black British female perspective. Yet again, although personal and embedded with sensitivity, ‘Fancy That’ is an ode to many Black British women that also grew up loving house and electronic music.
That being said, I digress.
This article is a depiction of only two albums currently released by two black brits but Black British culture is one thing if not any… YOUNG and EXPANSIVE. It’s defined by its unexplored corners and its unreachable depth. There’s so much going on in the industry as we speak, many artists are shaping the current age of Black British history right now, it’s imperative to listen to what they have to say, everyone’s experience is unique and worthy of being heard. If I leave you with anything it’s to listen to MORE MUSIC made by Black British artists, djs and producers. Black British culture is thankfully in its prime and very much in motion.
Fatima Mohammed
Fatsbloodehblog.com 
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