Wifey Riddim and finding space for the female voice in the UK’s macho music scene
As BBK rightly said, “we need some more girls in here” and here’s a really really simple reason why, balance.
The past few years have seen a plethora of hits come from the UK’s underground scene. An almagamation of R&B, Grime, Garage, Dancehall, Afrobeats and Trap have blended together to form new genres led by none other than men.
It’s easy to see how this has become the case. With the Grime scene forming the foundation for the sounds of the streets, men have naturally taken a front seat, founding the platforms, spitting the bars, leading the revolution.
A few blips in the history of the UK scene have seen a few women rise to the top of the totem pole, gaining wide entertainment but still not quite mainstream. Throwback to Miss Dynamite, Miss-Teeq, Sweet Female Attitude. Today, the women in the UK scene veer towards pop or that new genre that we’re calling “Social Media”. We’ve had our eyes on a few ladies, think Shauna Shade, Ms Banks and Rai-Elle but its an uphill battle finding space for the female voice in the UK’s macho music scene.
Is it the gritty nature of the UK scene that means there’s little space for femininity and romance? Female rappers gotta come hard with male-presenting energies or head in the direction of hypersexualised pussy-for-sale-bad-bitch bars?
A stark contrast from his breakout hit “Homerton B” which leans heavily towards the UK drill genre, “Throwback” is a beautifully balanced melody. T’s bassy vocals are embellished by backing from musical artist Kali Claire. Wanna hear what the song would song like without her? Listen back to Charlie Sloth’s Fire in the Booth when the Unknown T x Remedee (producer of the beat) collaboration first makes an appearance. Without a shadow of a doubt, this is the perfect example of the power of the female voice to balance a track, a scene, an industry.
When will the UK scene wake up and smell the roses?