Grief, Glory, and the Blue Borough: Jim Legxacy's 'black british music' Reviewed

Drenched in grief, pride, and South London soul, Jim Legxacy’s ‘black british music’ redefines vulnerability on the edges of UK rap.

Last week, James Olaloye, known to the world as Jim Legxacy, finally announced his highly anticipated mixtape, ‘black british music,’ a project two years in the making. Until that moment, all we had were a handful of singles - ‘aggressive,’ ‘stick,’ and ‘father’ - that hinted at a sprawling sonic landscape, pulling samples and influences from Chipmunk, George Smallwood, and Skepta, among others. But nothing could have fully prepared us for what ‘black british music’ actually is: an audacious, genre-fluid, and profoundly vulnerable exploration of identity, loss, and the messiness of self.

In a conversation earlier this year with Arshan from Kids Take Over, Jim opened up about his childhood in Lewisham, London, saying “there’s nowhere else I’d rather grow up.” This sentiment resonates deeply throughout the mixtape, especially on ‘i just banged a snus in canada water,’ where he confidently declares, “This that blue borough shit, I hope you’re listening. This that Giggs, Blade Brown up in the kitchen shit…,” a statement of pride in his South London roots. The “blue borough” refers to Lewisham, and the names of local icons Giggs and Blade Brown echo through the track as a powerful testament to the rich cultural legacy Jim is actively carving his place within. On ‘stick,’ Jim asserts that he is carrying "the ends on [his] back," as though Lewisham itself is his superhero cape. The imagery of his dog, Bingo, on the single’s cover, alongside iconic figures like Freddie Mercury and David Bowie, offers a perfect visual metaphor for Jim’s exploration of hybridity: a blending of British musical culture with his own lived experience.

In a live performance at South London’s Albany Theatre last year, Jim reflected on his music’s purpose, noting, “I started to make music because I feel very intensely about the human experience, and all these different feelings.” Those feelings, which are raw, unfiltered, and deeply personal, are at the heart of ‘black british music.’ In his KTO interview, he said "the history of black British music is still so young," setting the stage for the mixtape’s rejection of genre conventions - the mixtape swings wildly between emo pop ('06 Wayne Rooney'), folk-inspired guitar ballads ('issues of trust'), and ferocious MCing (‘i just banged a snus in canada water’).

The opening track, ‘context,’ sets the emotional tone. Jim walks us through the profound grief of losing his sister, Atinuke, two years ago, as well as his family’s pain - his mother suffering two strokes, and his brother grappling with psychosis. The theme of grief, while deeply personal, is universal, and its presence is felt throughout the mixtape. On ‘new david bowie,’ Jim samples ‘Wash’ by Jon Bellion, one of his sister’s favourite musicians, while on ‘issues of trust,’ he lays bare the emotional fallout of her passing. In an interview, Jim said, “I just want to make her so proud... That gives me purpose and it gives me fuel." It's clear, then, that every note and lyric is a tribute to her, but also a broader reflection on how we process and carry grief.

There’s something distinctly human about Jim’s approach to music. In the same interview, he mentioned that his life is driven by three pillars: family, friends, and his dog. All three are woven into the fabric of ‘black british music.’ From his late sister’s influence on tracks like ‘new david bowie,’ to his friends and collaborators contributing to the album’s production and video content, and even Bingo’s bark making an appearance on tracks like ‘context’ and ‘dexters phone call,’ these elements are integral to Jim’s narrative, giving the mixtape an aura of authenticity and love.

Track 1, ‘context,’ touches on Jim’s attempt to numb his emotions in the face of overwhelming loss, with an openness he’s explored before, notably on previous project, ‘Citadel’. His conviction that “vulnerability is what London music has been missing for a long time” carries through on this record, and it’s an emotional depth that few artists in the scene are willing to explore.

Track 3, ‘new david bowie,’ is perhaps the most chaotic moment on the album - its production is layered, dense, and volatile. But, in its chaos, it remains emotionally rich, a perfect sonic counterpart to the messiness of Jim’s internal world. The title’s allusion to Bowie hints at the pressure of living up to the mythos of larger-than-life figures, but the track itself is a meditation on carving one’s own space in the ever-expanding narrative of fame.

But the most heartbreaking moment comes on track 6, ‘issues of trust,’ where Jim steps away from the production excess to offer an acoustic ballad. The sparse, mournful guitar and the cracked, intimate tone of his voice give the song an aching vulnerability. In terms of emotional impact, it’s perhaps the most visceral moment on the entire mixtape, bringing to mind the rawness of Bon Iver’s ‘Re: Stacks’ or Cigarettes After Sex’s ‘Sunsetz.’

Track 13, ‘3x,’ serves as the mixtape’s final single before the project’s release, and it’s a masterclass in both collaboration and nostalgia. Featuring Dave, Jim interpolates lyrics from Dave’s hit ‘Wanna Know,’ while Dave returns the favor by borrowing from Sneakbo’s ‘Touch Ah Button’ flow. The instrumental itself samples Wiley’s Jam Pie production from 20 years ago, further grounding the track in the history of Black British music. It’s a celebration of the scene’s legacy and its ever-evolving sound.

Jim once said, “I just want to be the best I can be. I reckon if I reach my best, it will be massive,” and right now, that rings prophetic. With ‘3x’ already hitting #3 on YouTube Music, it’s clear that the world is listening, and the record will likely reach the million-view mark in no time. On ‘i just banged a snus in canada water,’ Jim asks, “How’d I go from poverty to popstar?” and it’s this exact feeling of disbelief, humility, and sheer defiance that makes ‘black british music’ such a triumph.

On ‘3x’, Dave assures us that he already “Told Jim you already did your sister proud.” It's hard not to agree. The mixtape, as a whole, serves as a tribute to Atinuke’s memory and a testament to Jim’s resilience. It’s messy, unapologetic, and dripping with grief and triumph in equal measure. It's a bold, unfiltered reflection of Jim Legxacy as an artist, a person, and a storyteller. And that’s exactly what makes it an essential listen.

Words: Sik Frydas
Pictures: Patrick Sear