Major label involvement in Grime diluted the genre by remaking artists into pop acts rather than amplifying the existing sound

A recurring pattern: Grime artists sign to major labels, are required to re-record tracks, receive stylists, and produce music that, as one participant put it, ‘I don’t even recognise it anymore.’ Julie Adenuga: ‘Young people get into music, they create something so organic themselves and instead of taking that raw material and just delivering it to the world, they change it, water it down, make it something it ain’t.’ The commercial logic: labels tried to market Grime to mainstream audiences using Americanised hip hop-pop templates. The result: a wave of failed crossover attempts 2007-2012, and artists who eventually returned to raw Grime to rebuild credibility.

Examples

Dizzee Rascal’s ‘Dance Wiv Me’ / ‘Holiday’: deliberate pop crossover, not Grime. Skepta’s rejection of major-label mandate and return to raw Grime leading to the Mercury Prize with Konnichiwa. Artists re-recording tracks eight times for labels.

Assessment

Identify the specific commercial logic that led UK majors to attempt Grime-to-pop crossovers in 2007-2012. Explain why this failed artistically and commercially.