Last Saturday night I ventured through to a bitterly cold Weege to indulge my guilty pleasure: an evening of Scottish rap. The Wave was a showcase of some of the city’s best talent, organised by north Glasgow artist Melroze, and timed to coincide with the launch of his latest album, Temper.
Scottish rap historically divides opinion. The prejudice heaped on the genre by natives and non natives alike is often attributed to an aversion to Scots vernacular set to a beat, but I am not convinced. I think the hostility towards Scottish rap is a combination of cultural ignorance and deep class divisions. The scene is overwhelmingly dominated by young men from Scotland’s schemes, and the lyrical content and personalities inevitably reflect the aspirations and issues affecting both.
Either way, I was not attending to engage in a chin stroking critique. I came to see the show, and I was not disappointed.
First up was Millar, who strolled around the stage nonchalantly while delivering an effortless stream of intricate verbals, aided by his hype man. The two were clearly well rehearsed, syncing where required and admirably hyping the crowd for the acts to follow.
Next was Clydebank’s ajforty7, also known as The Young King, an artist who is as meticulous with his onstage presence as he is with his onscreen image. Perhaps the most impressive aspect of Scottish rap is the innovation and ambition shown by so many artists in their pursuit of compelling visuals. TYK is no exception. His recent production KOTN, with videographer Gary Melvo, stamps their stylish mark with authority. By his own admission, AJ is a “scheme boy but he’s educated” and his confidence and charisma shine through, encouraging the enraptured crowd to confirm that everything is “pukka” before ending his set with his online smash Sunny, accompanied by the next act and last year’s SAMA Best Newcomer winner, Dundee’s Shaun Scott, also known as Eugene.
Eugfaethe4 certainly made waves at The Wave as he launched into his signature track Demons, which has amassed a far from shabby 240k views on TwelveFifty’s YouTube channel. The crowd affirmed his stature, chanting his bars back as he commanded the mic. Eugene’s life story is a battle from poverty, foster care, and environments that would challenge even the hardIest of souls, but like so many of Scotland’s scheme stars, he has channelled his endurance into entertainment. His wry smiles and charm are clearly a winner with those who made their way to The Wave.
The man of the moment and event organiser, Melroze, took to the stage to offer an insight into his new 12 track album Temper, beginning with Big Money, an infectious and unashamed homage to the joy of “dirty cash” and the risks involved in accumulating it. I can see Big Money being a big hit. The album is a constant display of lyrical prowess and scheme sensibilities, but it is also laced with moments of pain and poignancy. His excellent tribute to his uncle Leroy, Leroy, tells the all too frequent story of young lives lost to crime and violence.
Having interspersed his set with new tracks and classics like Who’s That, Melroze completed his performance with another slice of Temper: Champion, a Rocky esque boxers anthem which features Glaswegian featherweight fighter Nathaniel Collins in the excellent accompanying music video.
But the night was far from over. We were now to be graced with the presence of Kriss Sherlock, The NED KING (self proclaimed). Sherlock has entered legendary status far beyond the icy realms of Escocia, in no small part due to his diss track on Edinburgh’s Zesh, Protect Yer Neck. However serious the beef is between these two rappers is neither here nor there. Protect Yer Neck has nearly one million views on YouTube, and the video, produced by Kip Cozy, is a masterpiece. Like most Scottish rap, drill, and trap artists who are willing to take their music beyond the digital and into the real, there is a palpable sense of intent and purpose. Sherlock embodies this attitude. He knows he has talent and he does not need to prove it. His performance of his latest track, the ominous and menacingly catchy Glasgow City, was quite simply sublime. Similarly, his renditions of Scheme Livin 2 and Checkmate were delivered with such casual confidence it was as if the venue was his alone.
Finally, OAKZY B and MC Tiny arrived to ignite the crowd into a multisyllabic bouncy techno frenzy. I must admit, I was part of the rave scene the first time round, and these two would have smashed any night at the FUBAR, Hanger 13, or similar. Judging by the reaction from those assembled, there is clearly an appetite for both of these genres on the same bill. It is a shrewd move from a promoters perspective, although a little fast and furious for my auld lugs.
A special nod to producer Merki DJ, who spun the tracks onstage for the artists and kept the vibe alive throughout.
My appreciation for Scottish rap, the artists, the egos, the visuals, and the lyrical messages has only been enhanced after checking in on The Wave. I have been a fan of the scene for many years, and I have long recognised the parallels between Jamaican dancehall culture and the sound of Scotland’s schemes. There is a prevailing sense at present that Scottish culture is shite and boring. There is some truth to this, that is, if you believe Scottish culture starts and ends with Creative Scotland funding and government approved artists. Beyond the pretentious egos of state funded poets, the real wordsmiths are shifting 3.5s to pay their producers and videographers for their next audio/visual delights, and earning the respect and admiration of real people in the real world in the process.
Find them on Instagram:
Millar - https://www.instagram.com/millarrr1
ajforty7 - https://www.instagram.com/ajforty7
Melroze - https://www.instagram.com/melrozemusic
Sherlock - https://www.instagram.com/sherlock_gla
Oakzy B - https://www.instagram.com/oakzybadza1
MC Tiny - https://www.instagram.com/mc.tiny
Merki DJ - https://www.instagram.com/merkidj
Listen to Melroze's Latest Album on Spotify:
