London exhibition tracks grime music's evolution

The exhibition tracks grime from its inception in the early 2000s to the modern day

An exhibition tracking the evolution of grime music over the past 20 years has opened at the Museum of London.

Grime Stories: From the Corner to the Mainstream features interviews and footage from the genre's roots in east London to its widespread popularity.

Co-curated by Roony 'Risky' Keefe, it also features artists Jammer, Ruff Sqwad's Rapid and Slix.

Mr Keefe said:  "Grime is a culture in itself and uniquely houses London's attitude and DIY spirit."

"In two decades, it has given so much back, not only to the city, but to an international audience. Grime's influence has changed music forever," he continued.

He said the display made him "feel proud to see grime's legacy acknowledged, knowing how far the scene has come and how essential it is to London's culture".

The exhibition opened at the museum on Friday

The display seeks to honour grime's sound, people and places central to the scene as well as its beginnings in the early 2000s.

In the pre-social media age, it flourished through an informal network of record shops, youth clubs and pirate radio stations.

By 2004, London's grime scene had reached mainstream success with albums like Dizzee Rascal's 'Boy in da Corner' meeting critical acclaim and winning a Mercury Prize.

At the core of the display is a series of films, one of which sees Mr Roony tour east London in his black cab with influential figures from the UK's scene.

The exhibition features works by grime artist Willkay

It features footage of Skepta and DJ Slimzee as well as examining how they found an outlet to share their music.

The exhibition also mentions a Leytonstone basement owned by grime pioneer Jammer and nicknamed The Dungeon.

It was the birthplace of the now famous Lord of the Mics rap battles which helped catapult the genre into mainstream consciousness.

Dhelia Snoussi, the museum's youth culture curator, said: "The global success of the scene could not have been achieved without the social and physical infrastructure underpinning grime music."

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