It is good to see the Prince’s Trust Urban Music Festival (UMF) drew large numbers. Hopefully, it has also made many potential clients aware of the Trust and what it offers. However, I would like to make a couple of points.

Firstly, by making the concert bill top-heavy with US superstars, notably Jay-Z, Beyoncé, and Alicia Keys, the publicity spotlight invariably fell on the Americans, to the detriment of the British contingent. Secondly, for an organisation that seeks to empower young British people, this billing policy seems to perpetuate the notion that British black music is either inferior or does not have the calibre of artists to draw corresponding numbers with the huge publicity and marketing of the UMF.

Also, considering that a good proportion of the Trust’s client base are from vulnerable backgrounds, one wonders the logic behind selecting as the double headliner Jay-Z. The publicity described him as a “universally respected artist and lyricist”. Although Jay-Z has an impressive entrepreneurial record, his lyrics continue to denigrate sections of the black community, and glamorise misogyny, criminality, profanity and the socially bankrupt bling-bling mentality. Not an obvious role model for the Trust, one would have thought.

On a lighter note, the festival has helped the term ‘urban music’ gain currency among a wider section of the mainstream. This is no doubt adding to the interest in the Black Music Congress’ debate at City University on May 22 entitled ‘Black music or urban music?’

Kwaku

Black Music Congress founder

P O Box 14092, London NW10 1WL

editor@britishblackmusic.com  

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