JP’s UK Culture Picks: October 2026

Welcome to JP’s UK Culture Picks, your one-stop monthly column for all the best in UK music and culture! Expect everything from my favourite tracks and albums of the month to random YouTube finds, fire food spots to club night recommendations. You can find me on IG: @josephjppatterson.

We built this without them. We can do it again.

Black British music and culture, despite having been at the forefront of British popular culture for the best part of two decades, are gradually being pushed out of the mainstream conversation. And if we’re being completely real, the shift in energy has been hard to ignore for a minute now.

The rise of the brazenly racist far-right, coupled with Trump’s push to scrap DEI programmes across the States, has had a knock-on effect around the world, with the creative industries also feeling the impact. The George Floyd/black-square era—when all those big corporations were tripping over themselves to champion Black voices and creativity—is well and truly over, sorry to tell you. Diversity budgets are being slashed left, right and centre, and the same institutions that couldn’t get enough of Black culture just a few years ago are now looking elsewhere for their next big thing. It says a lot about how much of that support was even genuine in the first place.

Here’s my thing, though: since when did we need their approval in the first place? Our greatness has never needed anyone’s permission to do its thing. From soundsystem culture and pirate radio to the emergence of jungle, garage, grime, funky and UK rap, our greatest cultural movements were built by people who literally had no access to the traditional gatekeepers. We created our own spaces, our own platforms, our own distribution networks and communities because nobody else was gonna do it for us. And when the mainstream eventually came knocking, it wasn't because we’d watered ourselves down to fit their expectations—it was because what we’d built was so undeniable that they had no choice but to tap in. Somewhere along the way, however, we’ve become too comfortable chasing validation from the very institutions that have historically overlooked us, and I am not widdit.

The playlist placements, the brand partnerships, the awards, the industry co-signs; all nice to have, of course, but none of them should carry more weight than the culture itself. We’ve allowed algorithms and commercial expectations to dictate too much of the creative process, and in doing so, we’ve arguably lost some of the hunger that made our movements special. So, it’s time to get back to basics (properly, this time). That means more grassroots events, more independent platforms, more pirate radio-style energy, more cyphers, more freestyles, more genuine artist development, more people building things without waiting for a major label or corporate sponsor to give them the green light. It means DJs breaking records because they believe in them, journalists championing artists before the hype train, promoters taking chances on new talent, creatives supporting each other outside of the occasional IG repost. It also means recognising the difference between a casual listener and a genuine supporter. The former might stream your track when it’s trending—the latter will buy tickets and merchandise and stick around when said hype takes a long stop. Build for those people first; everything else is a plus.

None of this is about rejecting mainstream success, by the way—we should all want to see our artists and creatives reach the highest of heights—but there’s a difference between stepping into those spaces on our own terms and compromising who we are just to get a seat at the table. The wider industry moves in cycles—attention comes and goes. What’s the in-ting today won’t necessarily be the in-ting tomorrow, but culture built on authenticity and real community has a much better chance of outlasting any industry trend. So if the mainstream isn’t paying attention to Black British music right now—cool, safe! We’ve been here before, and history has shown what happens when we’re left to our own devices: we build and create something that simply cannot be ignored.

Steppers, Más Tiempo, and the new wave of Black British house music…

One of the best things about this summer, for me, was seeing so many young Black ravers finding their way (back) into house music, and actually feeling like they belong in those spaces. Continental GT’s Steppers and Skepta’s Más Tiempo have played a massive part in that, bringing a new generation into the fold in a way that feels exciting and authentic. Forward Motion have been killing it too, helping to build a proper sense of community around the music. It reminds me of what Jamie Jones’ “Hungry For The Power” remix did for a lot of us back in 2009, when that particular sound opened the door to a whole new world of house music. Different times, but that same feeling of discovering something you want to be part of. And let’s not forget: house music is Black music (techno, too)—from its roots in Chicago to the many sounds and scenes that’s followed—so seeing that connection being revived among the younger gen is just dope, especially when Black representation in certain corners of the scene hasn’t always reflected the music’s true origins… I just hope we see a lot more of whatever this is.

Rapper Of The Month: Suggz

Welcome to a new monthly segment: Rapper Of The Month, where I’ll be shining a spotlight on a rapper who’s been shutting things down lately and deserves to be on your radar. This month, we’re heading to 0161 to see what newcomer Suggz has been cooking up. Suggz been showing and proving over the last six months or so via a number of showadon freestyles, consistently delivering the kind of performances that make you sit up and pay attention—screwface and all. Each freestyle has been another reminder of what he can bring to UK rap’s table, with that no-nonsense Northern confidence coming through in every verse. He’s also been doing his bit to remind everyone that Manny isn’t a city to be played with when it comes to this lyricism thing. If you haven’t been keeping up on Suggz, now is your time to lock in.

Album Of The Month: Kofi Stone delivers blissful, soulful raps on The Last Flower To Bloom

Born in East LDN and raised in Birmingham, Kofi Stone is one of those artists whose name you hear time and time again before finally diving into his music and discovering just how much gold lies beneath the surface. With The Last Flower To Bloom, he continues to cement his place as one of the UK’s most quietly impressive rappers. Arriving just a year after All The Flowers Have Bloomed, Kofi blesses us with another expertly crafted project of introspection, growth and self-discovery. Across 16 tracks, a rich blend of soul and jazz-inspired sounds provides the perfect backdrop for his thoughtful lyricism as he reflects on love, faith, inner struggles, and the ups and downs of everyday life. Featuring Mahalia, Jaz Karis, Children Of Zeus and more, there’s plenty to appreciate throughout the album, with each collab bringing something different to an already impressive body of work. It’s Kofi Stone’s ability to turn personal experiences into relatable stories that continues to set him apart.

Tracks Of The Month