The New Wave: Black British Artists Reshaping the Music Landscape in the 2020s

Black British artists are redefining the nation’s sound, blending heritage, innovation, and resilience to shape the future of modern British music. The Mic's Mide Williams reports.

Black British culture continues to flourish, weaving itself into the very fabric of modern British identity. From the way we speak to the food we eat, and most strikingly, through music, Black Brits have reshaped the nation’s cultural landscape since the early waves of migration.

In the 2020s, our imprint on the music industry is unmistakable. Even within genres that weren’t originally considered “for us,” it’s a triumph to see so many rising talents breaking through in a landscape that can often feel bleak for Black artists. Despite rampant discrimination — often rooted in race and gender — battles with labels and donors around unfair pay, doubts over “marketability”, and lack of access to funding remain persistent barriers that make simply getting a foot in the door a struggle. According to the 2021 Black Lives in Music report, only 21% of Black music creators rely solely on music for their income, compared to nearly 40% of their white counterparts. With the creation of contemporary Black art often seen as both a financial and creative risk, the success of those who rise above these obstacles is all the more powerful and worthy of celebration.

To honour that, this article shines a light on the movers and shakers redefining what it means to be a Black British artist today: building new foundations for the future of British music.

Rachel Chinouriri; Photograph by Lauren Harris, courtesy of Teen Vogue

1. Rachel Chinouriri

   
   

The first artist in serious need of her flowers is Rachel Chinouriri  -  a name that’s become almost synonymous with the revival of pop rock and indie from a distinctly Black British lens. She embodies both genres in their entirety, with a sound that feels nostalgic yet fresh. Think Lily Allen’s candidness, the sweet but sultry harmonies reminiscent of the Sugababes, and just a touch of that Hayley Williams grit that gives her music its raw edge. Though her earlier work leaned more toward soulful, atmospheric indie pop, Rachel’s evolution has been one of the most exciting to watch. Her debut EP, Mama’s Boy, felt like a dreamscape ;  tender and reflective, yet commanding in tone. Her voice, airy but assertive, floats above production that feels as though it was made to soundtrack quiet moments of introspection on a late-night bus ride home. From those early SoundCloud days, you could already tell she wasn’t afraid to make vulnerability sound powerful.

Since then, her trajectory has been nothing short of impressive. She opened for Sam Fender, Lewis Capaldi, and even Sabrina Carpenter on the European leg of her Short ’n’ Sweet tour in 2024. These are artists whose audiences might not have been her core demographic initially, but who’ve quickly become captivated by her sound. Alongside those live performances, she’s released a series of EPs that trace her artistic growth, shifting from traditional indie textures toward a more layered mix of Britpop and 90s soft rock. It’s a sound that feels uniquely hers — nostalgic, fearless, and rich with cultural duality.

That journey came full circle with her breakthrough sophomore album What a Devastating Turn of Events. On the surface, it’s a reinvention of what the Black British experience can sound like ; filtered through guitars, crashing drums, and haunting harmonies rather than beats and basslines. But underneath, the album digs deep. It’s about her working-class upbringing in West Croydon, and the quiet tensions and contradictions that come with being a first- or second-generation child of immigrants in the UK. There’s an honesty there: an unflinching look at self-esteem, identity, belonging, and how all of that intertwines with her Zimbabwean roots. What makes the project even more striking is how she threads these themes with visual and cultural symbols like the St George’s flag , often weaponised as a nationalist motif, and reclaims it as part of her narrative. It’s her subtle way of saying that Black British girlhood isn’t a contradiction, but is complex, layered, and worthy of its own space in the wider British identity.

In 2025, Rachel shows no sign of slowing down. Her collaboration with PinkPantheress on the Romeo (Remix) for the deluxe edition of Fancy That feels like a celebration of the new wave of Black British women reshaping pop. It’s airy, confident, and deeply self-assured  and a perfect entry point for anyone new to either artist. Together, they prove that the new generation of Black British artists is not waiting for validation from the mainstream; they’re building a new one from scratch.

2. Jim Legxacy

Hailing from the London borough of Lewisham, Jim Legxcay has been on a steady ascent since the release of his debut album CITADEL. Early tracks like ‘cold lewisham roses’ and ‘andromeda’ became instant staples in his discography, showcasing his knack for reinventing popular trap and pop samples into refreshed, up-tempo melodies,  all carried by his signature wispy vocal delivery.

His true breakthrough came with his sophomore project, Homeless N*gga Pop Music: a title that reflects Jim’s raw sincerity and unfiltered honesty. The album chronicles his experiences with relationships (both platonic and romantic), his upbringing, and periods of homelessness during its creation, all while navigating the expectations placed on a young Black boy from his area. Standout sample flips include Miley Cyrus’ “Ordinary Girl” (from the Hannah Montana soundtrack) on ‘miley’s riddim’, and the now-removed ‘candy reign (!)’, which breathed new life into the R&B classic Candy Rain by Soul For Real. The release cemented Jim’s position in the blossoming UK underground scene as a genreless innovator, an artist who draws from pop tropes, alternative R&B lyricism, and a sonic blend of hyperpop and trap to craft something distinctly his own.

Much like his contemporaries, such as Rachel Chinouriri, Jim’s music sits in an expanding grey area , one that major labels might struggle to market, but that resonates deeply with listeners craving originality and emotional depth. His latest release, black british music (2025), adds another introspective layer to his ever-evolving catalogue. Tracks like ‘stick’ and ‘father’ lay bare the traumas of his past, interwoven with upbeat, infectious production ,  symbolising the joy that persists as a silver lining through the darkness. The project has already earned him nods from Black British greats like Dave, who collaborated on the track ‘3x’.

If you haven’t heard of Jim Legxacy yet, now’s the time to dive in — his music embodies the sound of a new generation redefining what “pop” can mean in Black British artistry.

3. Odeal

For years, people have been calling for the return of the Afroswing era — that golden stretch from the mid to late 2010s that many still see as one of the defining moments in modern Black British music. It was a time when UK artists fused the warmth of Afrobeats with R&B smoothness and the confidence of rap to create something unmistakably homegrown. Though its mainstream glow has faded, Odeal remains one of the few artists keeping that spirit alive. He hasn’t just preserved it; he’s transformed it, weaving its essence through newer sounds and carrying its legacy into a new decade.

Odeal began releasing music in the mid-2010s. His early singles, including Need a Girl from his debut EP New Time, fit comfortably within the Afroswing sound of that moment. The beats were slow and sunlit, built on steel-drum patterns and soft trap percussion. Even then, there was something deliberate in his delivery ,  a sense that he was finding his voice, not rushing to meet the noise of the scene around him.

Everything changed when he founded OVMBR, his own label, and took the independent route in 2022. That decision marked the start of his creative breakthrough. Coffee (Don’t Read Signs), which has now amassed over 50 million streams, became his defining moment. It held onto the warmth and bounce of Afroswing but introduced something new: crisp production, deeper vocal layering, and a smoother, more reflective tone. The song captured everything people loved about the genre while showing how it could evolve beyond its original form.

Since then, Odeal has continued to expand his sound. His collaborations and self-produced singles reveal an artist with genuine range. The fan favourite Be Easy featuring Brazy moves effortlessly between R&B and gentle trap influences, while still sounding completely his own. Every release feels part of a broader journey; there’s consistency, but never repetition. One of his best examples of this versatility is Sondela, from the 2024 EP Sunday at Zuri’s. Its rhythm nods to Amapiano, but the texture leans toward lo-fi house and Afrobeats. The blend feels effortless, his voice glides over the beat, giving the track a subtle emotional pull.

Across four albums, Odeal has built a reputation for reliability. He doesn’t chase trends or force reinvention. Instead, he allows his music to grow with him. His lyrics often reflect on joy, love, and the messiness of relationships. Those themes might sound familiar, yet the way he approaches them feels personal and grounded. His songs radiate comfort, the kind that makes you feel seen. There’s a glow in his work that traces back to his Nigerian roots, a quiet sunlight that pours through even his most melancholy tracks. Odeal’s appeal lies in that warmth. He creates music that moves with grace, whether it’s for a crowded dance floor or a bus ride home. His sound celebrates Black joy without needing to announce it, and it’s that balance of confidence and humility that has built his loyal following, one release at a time.

If you’re new to his catalogue, start with his latest project, The Summer That Saved Me. The lead single London Summers is the perfect introduction :  bright, nostalgic, and full of heart. It captures everything Odeal represents: the evolution of Afroswing, the resilience of independence, and the enduring warmth of Black British creativity.

"Across four albums, Odeal has built a reputation for reliability. He doesn’t chase trends or force reinvention. Instead, he allows his music to grow with him."

4. Kokoroko

Formed in 2014 by Sheila Maurice-Grey (trumpet, flugelhorn, vocals) and Onome Edgeworth (percussion), Kokoroko was born out of a mission: to connect the African diaspora through sound. Their music bridges Afrobeats and Highlife with the improvisational energy of contemporary jazz, reimagining predominantly West African rhythms through a distinctly London lens. Each performance feels like an act of cultural preservation and reinvention all at once.

Their breakout single ‘Abusey Junction’ embodies that perfectly. Released on their self-titled 2019 EP, the track captures the serenity of a tropical evening: the gentle hum of life around you, the waves folding out in front of you, the quiet reflection as the sun sets. There are no lyrics, but none are needed. Kokoroko’s greatest gift is their ability to bring out emotion and memory through pure instrumentation. Listening feels like time travel; you’re transported somewhere familiar yet brand new every time the horns swell. That same magic runs through ‘We Give Thanks’, from their critically acclaimed 2022 album Could We Be More. The song moves like a call-and-response sermon, led by echoing chants and airy vocals that rise and fall against bright, jubilant trumpets. It has Highlife written all over it — celebratory, communal, and grounded in joy. If the track were a time and place, it would be a Sunday morning service in a small Pentecostal church, full of movement, warmth, and praise.

Could We Be More reached number 30 on the UK Albums Chart, which is an incredible feat for a jazz record, and proof of the genre’s renewed vitality within the Black British soundscape. The album also laid the foundation for their most recent project, Tuff Times Never Last, which has attracted an even wider audience. Standouts like ‘Sweetie’ are irresistibly uplifting, a summer anthem that celebrates love in all its forms, whether romantic or platonic. Trumpets burst like sunshine across the mix, while the groove pulls you into a rhythm that feels both nostalgic and fresh. It’s impossible not to smile when it plays.

Even if jazz isn’t your usual go-to, Kokoroko will challenge every preconception you might have about the genre. Their music isn’t background noise; it’s an experience.

5. Chy Cartier

Last but certainly not least, Chy Cartier represents the next generation of North London talent. She comes from Tottenham, an area that has long been synonymous with grime’s rise and legacy. Home to heavyweights such as JME, Skepta, and Wretch 32, it’s no surprise that Chy has inherited that same energy. Yet even among those greats, she’s building something that feels distinctly her own. Her early work was rooted in Drill, and while the production mirrored the conventions of the genre, her delivery set her apart. Those first freestyles introduced a sharp and deliberate pen. The flow was measured, her breath control impressive, and the now-famous ad-lib “Bap! Bap!” became a mark of her presence. She didn’t need to shout to make people listen; she commanded attention with precision.

The tide began to turn in 2023 with ‘Bossed Up’. Unlike the heavy, layered instrumentals typical of Drill, this track took a more restrained approach. The slower tempo allowed her words to breathe and gave space for her confidence to shine. Listeners began to hear the personality behind the flow: a mix of assertiveness, wit, and subtle vulnerability that hinted at her range.

Then came 2024, the year that truly cemented her as one to watch. Singles like ‘Like Magic’, ‘04’, and especially ‘YO’, showcased her versatility. YO became a defining moment, attracting attention from major players in the scene. Loski offered early praise, and Headie One jumped on the remix, helping to amplify her profile without overshadowing her authenticity.  The momentum carried straight into 2025, when Chy released her debut album NO BRING INS. The title says everything about her attitude: no shortcuts, no handouts. The record stayed true to her Drill foundations but reached further, experimenting with new rhythms and tones while maintaining a consistent emotional core. It’s a project that feels complete. It’s ambitious yet grounded, bold without being brash. Its success has brought new opportunities too. Skepta invited her to perform at his Big Smoke Festival, and Lil Yachty recently teased their upcoming collaboration, suggesting her influence may soon extend far beyond the UK.

Even if Drill isn’t your usual listen, Chy Cartier is the kind of artist who makes you stop and reconsider what the genre can be. Her music carries weight, but it also carries sincerity. She tells stories with honesty and composure, capturing everyday struggle and triumph in a way that resonates beyond the area that shaped her. At just twenty-something, she already moves like an artist who knows exactly where she’s going. If you’re discovering her for the first time, start with ‘Not the One’. The track captures her essence perfectly: confident, reflective, and effortlessly commanding. It’s a clear reminder that Chy Cartier isn’t just another voice in the scene , she’s the sound of what’s next.

Overall, the Black British music scene has never been more vibrant or varied. Every corner of the sonic landscape is buzzing with talent. From jazz collectives and indie storytellers to boundary-pushing rappers redefining what British sound can be. Yet too often, these artists don’t receive their flowers while their creativity is still in full bloom. This article only scratches the surface of what’s out there. Let it serve as a starting point, an invitation to dig deeper into a scene overflowing with innovation, honesty, and soul. The culture is creating something truly special, and it deserves to be heard, celebrated, and remembered while it’s still unfolding before us.

by Mide Williams

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Edited by Ben Dale

Photo courtesy of Lauren Harris