Framework: Dave

As part of Black History Month, Mixtape Madness are profiling influential figures who have pushed forward UK rap and Black British music to greater heights in a series called ‘Framework’. These people are key cultural touchstones who continue to strive for greatness in their field, and this series begins with the inimitable Santan Dave.

Since his early Black Box and Street Starz freestyles the Streatham native demonstrated his outstanding, visceral lyricism. It was not long until his Fire In The Booth announced him to a national audience, before JKL+HYD transformed lyrical prowess into stellar songwriting. 

It wasn’t long before Drake anointed Santan as the brightest star in his generation, collaborating together on Wanna Know (Remix). This made rap fans on both sides of the Atlantic sit up and take notice following the release of Six Paths, Dave’s debut EP that saw him come to terms with his life before music and the impact on his mental health with classic tracks Picture Me, and Panic Attack.

Dave’s prodigious, precocious talent has always been evident and set himself apart from his contemporaries. His ability for storytelling, as well as an innate musicality across multiple instruments is testament to his love for the craft. His ascension as a teenager came at a perfect storm for UK rap music. Grime was in a renaissance period and had hit the mainstream thanks to the likes of Skepta and Kano, while a new generation of Stormzy, AJ Tracey, and Santan himself were being ushered in and given a platform to thrive.

At this stage of Dave’s career, his collaborations within the scene cemented his cult status. Samantha with J Hus, No Words with Mostack, and Thiago Silva with AJ Tracey are all undisputed UK classics, with the latter making the artist a household name as it grew beyond the genre in which it was conceived. It is somewhat of a shame that such a legendary song that defined that era of UK rap music became such a recognisable track because of a kid called Alex who got a Boohoo Man deal out of it, but Thiago Silva is rooted in the traditions of grime thanks to the Ruff Sqwad sampled instrumental and the clashing energy that both artists bring. It would also be remiss to forget Dave’s stellar verse on Peligro with Giggs, one of my favourites in his catalogue. 

It is after this we move into his album era, kicking off with 2019’s Psychodrama. Conceptually, this was a step up from anything he had previously attempted and displayed an ambition beyond his peers. Featuring hits like Location and Streatham, as well as darker, emotive cuts in Environment and Lesley, this album was received to critical acclaim, earning him a Brit Award and a Mercury Prize in the process. With Stomzy and Dave as the two key figures in UK rap at this point, this is when Dave took the crown and reached a different stratosphere. 

His albums since, We’re All Alone In This Together, and the very recent The Boy Who Played The Harp, have created discourse amongst his fanbase and casual audiences alike regarding the content of his work and whether it is ‘interesting’ or ‘boring’ sonically. There is certainly more nuance to this than what the vast majority of people engaging in this debate are allowing.

Dave’s music is inherently interesting as he speaks on topics which are hard hitting from a unique perspective. He talks about the Windrush generation on Three Rivers, femicide on Fairchild, and multiple global struggles on the titular track The Boy Who Played The Harp. For an artist held in such high regard to be tackling these issues should be celebrated, especially in an era where so much that is put out feels increasingly disposable.

While I agree that We’re All Alone In This Together may not have the same replay value that his earlier work has (it’s too early to say for TBWPTH), tracks like In The Fire and Clash have definitely held up as seminal moments in UK rap. It is also easy to forget his involvement in Sprinter, an undeniable banger that was one of the biggest selling songs across global rap music in 2023, as well as a host of other stellar, ‘luxury’ UK rap hits that came out of his joint project, Split Decision, with Central Cee.

The Boy Who Played The Harp I believe cements Dave as the dominant voice of his generation. Chapter 16 with Kano tells us as much, with two of the greatest to ever touch the microphone from this country casually going back to back in a display that oozes class from both parties. The inclusion of Jim Legxacy (as well as an appearance on BBM) shows a desire to spotlight the next generation, while the voice note from his brother on the outro of My 27th Birthday is heartwarming and joins the three of his full length projects together. I think it is fair to say that we hold Dave to a higher standard than anyone else in our scene, and while imperfect, he continues to exert himself at the highest level of artistry.