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Best of 2014: Grime

Grime was really big this year, in case you didn't notice.

In case you missed the fact that “German Whip” debuted at #13 on the UK charts, Skepta won a MOBO (with a music video that cost eighty quid), and the entire week of crazy great shit Noisey dedicated to it, grime did alright in 2014. Anybody with even a passing interest in grime will tell you that any thinkpiece involving the words "grime" and "revival" is bullshit because it never went away, and they have a point, but you’d have to be mental to deny that the genre saw an upsurge in quality activity this year.

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From Wiley's unfathomable lack of world domination to The Square stepping up as the new generation of grime artists, to the role of independent record labels and the lesser-addressed issue of why grime never went right for women, 2014 sparked a level of conversation around the genre that hasn't been seen since Dizzee Rascal spat his first OOOIIIIII.

I mean, Noisey even threw a grime karaoke party featuring many cardboard masks of Big Narstie's face, which is surely the statement of validation everyone had been waiting for.