With Krept & Konan having signed to Def Jam in America, it signals another UK rap act hoping to make their mark in the nation that birthed the genre. Despite The Long Way Home being their debut major label album (it’s been released by Virgin EMI in the UK), the duo has already garnered a growing fan base that has seen an increasing rise since their earlier Gipset days. Consequently, releasing their music in America is a sound decision given their momentum to date.
Krept & Konan present a viable act for success in America. Credibility, compounded by a harrowing backstory involving Konan, highly proficient rappers and a cross section of support in the UK amongst their fans and industry peers alike, all point towards the basis for success outside their own territory. Furthermore, the American collaborations on The Long Way Home suggest a burgeoning welcome from those American rappers who stay abreast with rap outside of their own country.
Krept & Konan aren't the first British rap act to attempt to conquer the US. However, few have had an impact on par with their American counterparts. Slick Rick, Monie Love and Derek B are exceptions but they're a minority and similar success hasn't been seen in the last 20 years.
Tinie Tempah gained some attention, largely due to Written in the Stars being picked up by WWE for Wrestlemania, but it's not close to anything achieved by Slick Rick. Similarly, Chip sought to break America under TI's Hustle Gang label but to no avail. He’s since returned to the grime scene in the UK with little impact having been made in America. Dizzee Rascal, albeit not originating from the rap scene, has had an impact in America but it's been less associated with rap and more the alternative scene that appreciates his often leftfield production and rapid, skippy flow that American rap audiences typically aren't accustomed to. On reflection, a UK rap act hasn't really made its mark on America for the best part of two decades. But with a better product typically coming from the UK in contrast to American rap, it's hard to see why.
In the early days of UK rap, it was always destined to fall short as an imitation of the US scene. Not to mention, as a relatively insular nation, Americans were (and largely still are) reluctant to embrace much that was unfamiliar. For UK rap, that meant unfamiliar accents (that perhaps didn't seem suited to rap) and unfamiliar colloquialisms and cadences. Though it could still be argued that a non-American accent still isn't wholly accepted by American audiences. Indeed, despite her commercial popularity, Australian rapper Iggy Azalea has still felt the need to don a faux southern accent in place of her own (which is more than apparent in her speaking voice). And given her popularity, she might argue it's paid off.
The unfamiliarity of British colloquialisms and vernacular could have contributed to American audiences being unable to embrace UK rap. Although looking at it from a non-American perspective, rap audiences around the world have managed to understand American rappers for decades. Many American colloquialisms have even managed to permeate the vernacular of other territories through the medium of rap. Therefore it's difficult to wholly accept this as a valid explanation. After all, hearing British vernacular from British rappers surely adds to the authenticity of what is being listened to. The same goes for the British accent that has found its voice within rap and no longer sounds awkward and out of place. Instead, it’s credible and quintessentially inner-city British.
The aforementioned insularity of many Americans also questioned the credibility of British rappers through the idea that the 'hood' only existed in America and couldn't possibly exist in the UK let alone anywhere else. Rather, many Americans erroneously thought (and many still do) we all speak the Queen's English and spend our days eating scones and drinking cups of Earl Grey with our pinky fingers at a suitably quaint angle. The idea of social deprivation, and the social ills that accompany it, existing in the UK was unthinkable to American audiences.
While it certainly isn’t something to glamourise, many American rappers and their entourages, bragging of their so-called 'hood' credentials, have toured and visited the UK and mainland Europe only to return home having found themselves involved in physical altercations and relieved of their jewellery and other possessions. And it’s been as a result of running into guys that really are from the 'hood' - and not the cinematic one that so many commercial American rappers seemingly originate from. If the street credibility of the UK and its rappers was once questioned by American audiences, it really shouldn't be now. Nonetheless, it's been an obstacle to American audiences embracing British rappers as credible acts.
There have been contemporary British rappers who have seemingly been able to address all the answers to a British rap act succeeding in America. Since Slick Rick et al, perhaps none more so than SAS. With huge street and rap credibility in the US and the UK, their success should have been a given. Their Hot 97 Special Delivery freestyle was subject to huge acclaim and subsequently they were affiliated with Rocafella and Diplomats but neither relationship ever came to fruition in the form of mainstream success . Even with widespread critical acclaim from many American rappers, it never seemed to translate into a situation that could take them to new levels of commercial success.
More recently, K Koke was signed to Roc Nation/RCA. Similarly to SAS, his street and rap credibility was undeniable and the label stuck with him even while he spent 7 months in prison on a murder charge that he was later cleared of. Alas, he was subsequently dropped from the label and his relationship with Roc Nation/RCA never came to anything by way of his debut album which is still yet to be released. Despite both acts being an A&R and marketing dream in breaking the American market, it's yet to be realised. If acts like SAS and K Koke haven't broken the American market, or at least haven't been given the platform to do so, it could be deemed questionable if other acts can.
Krept & Konan signing to Def Jam isn't a sure fire route to success in America and Def Jam isn’t the label it was during hip hop’s golden eras. Yet Krept & Konan present the attributes that a UK rap act would need to break America. Moreover, in contrast with the experiences of UK rap acts before them, the American rap scene is paying more attention to the UK rap and grime scene than ever before which is likely to bode well for their stateside endorsement. Only recently at Wireless did Drake (albeit a Canadian) bring out Skepta to perform Shutdown and French Montana featured on Krept & Konan's Don't Waste My Time as does Rick Ross on Certified.
The lack of stateside success for British rappers has been largely inexplicable of late. With broadly speaking better rappers, original content, credibility and a British swagger that most should find refreshing in contrast to the hackneyed and formulaic American approach, their success is seemingly overdue. Though as American labels and American rappers begin to pay more attention to the UK, and as the internet rapidly makes the British rap scene and its acts accessible to American audiences, it remains to be seen if the tide can finally turn for British rappers' commercial and critical acclaim in America.
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Krept & Konan aren't the first British rap act to attempt to conquer the US. However, few have had an impact on par with their American counterparts. Slick Rick, Monie Love and Derek B are exceptions but they're a minority and similar success hasn't been seen in the last 20 years.
Tinie Tempah gained some attention, largely due to Written in the Stars being picked up by WWE for Wrestlemania, but it's not close to anything achieved by Slick Rick. Similarly, Chip sought to break America under TI's Hustle Gang label but to no avail. He’s since returned to the grime scene in the UK with little impact having been made in America. Dizzee Rascal, albeit not originating from the rap scene, has had an impact in America but it's been less associated with rap and more the alternative scene that appreciates his often leftfield production and rapid, skippy flow that American rap audiences typically aren't accustomed to. On reflection, a UK rap act hasn't really made its mark on America for the best part of two decades. But with a better product typically coming from the UK in contrast to American rap, it's hard to see why.
In the early days of UK rap, it was always destined to fall short as an imitation of the US scene. Not to mention, as a relatively insular nation, Americans were (and largely still are) reluctant to embrace much that was unfamiliar. For UK rap, that meant unfamiliar accents (that perhaps didn't seem suited to rap) and unfamiliar colloquialisms and cadences. Though it could still be argued that a non-American accent still isn't wholly accepted by American audiences. Indeed, despite her commercial popularity, Australian rapper Iggy Azalea has still felt the need to don a faux southern accent in place of her own (which is more than apparent in her speaking voice). And given her popularity, she might argue it's paid off.
The unfamiliarity of British colloquialisms and vernacular could have contributed to American audiences being unable to embrace UK rap. Although looking at it from a non-American perspective, rap audiences around the world have managed to understand American rappers for decades. Many American colloquialisms have even managed to permeate the vernacular of other territories through the medium of rap. Therefore it's difficult to wholly accept this as a valid explanation. After all, hearing British vernacular from British rappers surely adds to the authenticity of what is being listened to. The same goes for the British accent that has found its voice within rap and no longer sounds awkward and out of place. Instead, it’s credible and quintessentially inner-city British.
The aforementioned insularity of many Americans also questioned the credibility of British rappers through the idea that the 'hood' only existed in America and couldn't possibly exist in the UK let alone anywhere else. Rather, many Americans erroneously thought (and many still do) we all speak the Queen's English and spend our days eating scones and drinking cups of Earl Grey with our pinky fingers at a suitably quaint angle. The idea of social deprivation, and the social ills that accompany it, existing in the UK was unthinkable to American audiences.
While it certainly isn’t something to glamourise, many American rappers and their entourages, bragging of their so-called 'hood' credentials, have toured and visited the UK and mainland Europe only to return home having found themselves involved in physical altercations and relieved of their jewellery and other possessions. And it’s been as a result of running into guys that really are from the 'hood' - and not the cinematic one that so many commercial American rappers seemingly originate from. If the street credibility of the UK and its rappers was once questioned by American audiences, it really shouldn't be now. Nonetheless, it's been an obstacle to American audiences embracing British rappers as credible acts.
There have been contemporary British rappers who have seemingly been able to address all the answers to a British rap act succeeding in America. Since Slick Rick et al, perhaps none more so than SAS. With huge street and rap credibility in the US and the UK, their success should have been a given. Their Hot 97 Special Delivery freestyle was subject to huge acclaim and subsequently they were affiliated with Rocafella and Diplomats but neither relationship ever came to fruition in the form of mainstream success . Even with widespread critical acclaim from many American rappers, it never seemed to translate into a situation that could take them to new levels of commercial success.
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Krept & Konan signing to Def Jam isn't a sure fire route to success in America and Def Jam isn’t the label it was during hip hop’s golden eras. Yet Krept & Konan present the attributes that a UK rap act would need to break America. Moreover, in contrast with the experiences of UK rap acts before them, the American rap scene is paying more attention to the UK rap and grime scene than ever before which is likely to bode well for their stateside endorsement. Only recently at Wireless did Drake (albeit a Canadian) bring out Skepta to perform Shutdown and French Montana featured on Krept & Konan's Don't Waste My Time as does Rick Ross on Certified.
The lack of stateside success for British rappers has been largely inexplicable of late. With broadly speaking better rappers, original content, credibility and a British swagger that most should find refreshing in contrast to the hackneyed and formulaic American approach, their success is seemingly overdue. Though as American labels and American rappers begin to pay more attention to the UK, and as the internet rapidly makes the British rap scene and its acts accessible to American audiences, it remains to be seen if the tide can finally turn for British rappers' commercial and critical acclaim in America.
