The path UK hip-hop has taken to its current success has been circuitous, to say the very least.

Back in the 1980s, the first wave of British rap suffered from comparisons to its US inspirations. The cliche went that British MCs all tried to sound American – and there was something to this, although not always.

The scene was huge and buzzing, though, and even while major labels managed to scupper some promising careers, it produced some real talents by the end of the decade: Hijack, Gunshot, The Rebel MC, Cookie Crew, London Posse and plenty more.

What’s more, during this time, rap and electro fused in various ways with reggae soundsystem culture to form the UK’s large Caribbean diaspora. It helped to create the uniquely British sounds of important names like Soul II Soul, Nightmares On Wax, Smith & Mighty and Massive Attack.

Brit rap continued on through the 90s as a creative force, but it was eclipsed in popularity by the offspring of those soundsystem fusions: hardcore rave, jungle and drum’n’bass.

These had the energy of dance music and reggae derived heavy bass, but their breakbeats came direct from the UK’s hip-hop culture – and a new kind of MC technique developed in the furious creative cauldron of rave culture.

Fusing hip-hop lyricism, “fast chat” reggae/dancehall styles, and a distinctly British vocal tone, it was the first consistent expression of UK vernacular in a rap style.

Jungle/drum’n’bass MCing branched into the more genial party hosting of UK garage in the second half of the 90s – although in both cases the MCs were generally in a supporting role to DJs.

But then, around the millennium, a second major revelation came along: grime. The music changed dramatically, still inspired by rave and hip-hop, but weirder, rawer, more jagged, with the rappers now taking centre stage also with new levels of aggression.

The suggestion was frequently made that this was a kind of Black punk, but really it was entirely its own dramatically new form of expression – and it produced both Britain’s first real superstar rapper in Dizzee Rascal, and a huge slew of talents for the ages in the likes of Ghetts, Kano, Flowdan, Manga, Wiley and more.

It was the only game in town for most of the 2000s, although once again the big labels fluffed attempts to push it to the charts – creating some very dubious pop-dance versions, and by 2010, it was in the doldrums somewhat.

In its wake came “road rap”, a slower, more menacing, more US-influenced documenting of street realities and the narcotic economy. This made a big name of south Londoner Giggs, but mainly remained resolutely underground.

However, as the 2010s went on, it began to fuse with resurgent grime (whether originators like Skepta or new generation artistes like Stormzy), the “drill” sound of Chicago which British producers made their own, and Nigerian and Ghanaian Afrobeats.

In this heady brew, names like Mostack, Nines and J Hus became huge, proper, charting stars.

All of which brings us up to the 2020s, when finally – finally – major labels seem able to create platforms for artistes on their own terms, while others make a success independently. Add more thoughtful, old-school rappers like Little Simz and Loyle Carner and things are truly thriving.

The mixture of sounds is increasingly sophisticated – retro UK garage influence and Afrobeats alike add a spectacular danceability to much of the current music, the slithering bass of drill beats is irresistible and production gets ever more advanced.

So, to our two-hour playlist. This is all from the 2020s, mostly from the grittier – and more successful – ends of the UK rap spectrum.

If you want something quirkier, perhaps more introspective, check our English Eccentrics rap playlist.

This, though, is unabashedly tough musically and lyrically – even if you use the excuse of street reportage, there’s a lot that’s cold-hearted, problematic, even brutal: this triumph of underdogs comes with more than its share of tragedy.

It certainly isn’t for everybody, but nonetheless the verbal dexterity, cultural blending and incredible sonic finesse can be dazzling. Get ready, it’s quite a ride.

 For more on R&B and Hip Hop:

• Trailblazing Women in Hip-Hop
• The R&B Songs of the 2000s You Will Get Nostalgic Over
• Unforgettable R&B Singers that Advanced the Genre
• "Conscious” Rap Origins

Cover: Ms Banks. Credit: Courtney Paul

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Writer | Joe Muggs

Joe Muggs is a writer, DJ and curator of many years standing, covering both mainstream and underground. His book 'Bass, Mids, Tops', covering decades of UK bass music, is out now via Strange Attractor / MIT Press, and you can subscribe to his newsletter at tinyletter.com/joemuggs.