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Billy Billions Takes Stand Against Art As Evidence In New Book

Joe Simpson

By Joe Simpson

Joe Simpson

24 Apr 2026

Bailey Mckenzie, known by many as his stage name Billy Billions, is taking a stand against using art as evidence in a court of law in his new digital book, ’39 YEARS: Make That Make Sense’. The rapper is currently waiting on the Court of Appeal for a decision on his conviction for conspiracy to murder and possession of a firearm, for which he is currently serving a 39 year sentence.

Using lyrics as evidence, especially in the genre of drill, has been an ongoing issue in UK law, with many prosecutors building cases against rappers through their art. Mckenzie states in his book:

“They played my music in court like a statement I made, Turned bars into evidence, every lyric portrayed. What’s art to express, now they’re calling it proof, Thats fiction they’re twisting, not the actual truth.”

The European Court of Human Rights legislate that ‘Freedom of expression includes the freedom to offend, shock or disturb’. Drill music has been demonised by mainstream press, as many genres of Black music have across history, from jazz to disco all the way to rap and its subgenres.

Art Not Evidence, a coalition aiming to tackle this issue, have said in the last three years alone, at least 240 people have had their fate in court decided by their musical output in some part. It feels incongruous that these genres can contribute to festival headliners in predominantly white owned spaces, while those making the art become vulnerable purely through self expression.

Mckenzie asserts that he was never at the scene of the crime and was never found to be in possession of a weapon. Any prison sentence is life changing, but 39 years completely eradicates a promising career as an artist and destroys his relationships with his family and young daughter.

While the artist has admitted he is by no means perfect and has troubles with the law before, using his work in prosecution is bigger than just this case, and is demonstrative that Black British music continues to be weaponised by law enforcement in the UK.

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