For Krept and Konan, 2013’s Young Kingz mixtape was where things really began to take off. The project saw the duo – unsigned at the time – collaborate with the likes of Chip, Yungen and Giggs, in a sprawling, hour-long flex of their fledgling lyricism.
Helped in particular by the success of one of its singles, ‘Don’t Waste My Time’ – which received some transatlantic love via a remix featuring French Montana – the mixtape helped cement the duo’s entrance into the UK rap scene. As the highest-charting mixtape for an unsigned act, it preceded a Best Newcomer award at the MOBOs and, sure enough – sensing commercial opportunity like a shark smelling blood – the industry came calling with a record deal. (The pair have since spoken openly about the issues that stemmed from their contract, which failed to account for the impending streaming era).
But Young Kingz was, to a large extent, a product of its time, with brash lyrics and occasionally clichéd beats, more focussed on the thrill of a good time than on leaving the listener with lasting wisdom. At times, too, it felt caught between trying to gain underground credentials, and venturing down a similar commercial rap route to one of its guest features, Tinie.
Fast-forward over a decade, and now the UK heavyweight rap duo – older, wiser, and back on their independent label, Play Dirty – return with the album’s successor, Young Kingz II. With its subject matter, refined production and sense of purpose, this sequel certainly shows that experience pays.
The first notable aspect of Young Kingz II are the solo tracks – two apiece from each of Krept and Konan – as though each of their lives are now simply too grown-up, too complex to occupy the same space on every track. Instead, it unfolds like two road rap brothers working side-by-side, with one stepping back whilst the other spits his story.
This one-to-one intimacy provides one of the album’s highlights midway through, with Krept addressing his daughter in ‘Nala’s Song’, envisioning her growing up and guiding her in a protective tone reminiscent of Eminem’s ‘Mockingbird’. (A testament to Krept’s evolution, he is now the founder of a multimillion-pound baby skincare line, also aptly named after his daughter: Nala’s Baby).
And whilst Krept pens a letter to his daughter, Konan makes peace with his late father: the Jamaican reggae and ska singer, Delroy Wilson. Despite his claim that “keeping things bottled is a specialty of mine,” ‘Delroy’s Son’ sees Konan open up about his father’s later battles with alcohol (he died of cirrhosis of the liver); about trying to emulate his father’s successes (“Mum told me you performed in Brixton, well I performed in Brixton / Now when she drives past she can think of the both of us”); and taking the reins in supporting his mum.
It may not quite have the heights of psychological insight as often penned by Dave, nor the storytelling of an album such as Knucks’ Alpha Place, but there is plenty to sink your ears into here; and to peel back the layers to meet the man behind Krept, Casyo Johnson, and the man behind Konan, Karl Wilson.
‘New Snap City’, meanwhile, enlists longtime associate Chip, who featured on the original Young Kingz, to remind us of the growth of UK rap (“of course I’m fucking proud of the scene and where it’s come to”); whilst ‘Street Therapy’ calls on Potter Payper (who famously missed the release of his debut album owing to a prison sentence) in one of the album’s best features.
But Young Kingz II isn’t simply one long introspection. ‘Last Night In Kingston’ sees Konan rap over a menacing beat from producer AdotSkitz with the intensity and bravado we’re usually accustomed to in UK rap, and is itself a sequel to Konan’s 2017 freestyle, ‘Last Night In LA’. ‘Rage’, meanwhile, lives up to its name, with some of the record’s most lyrically dexterous bars, as Ghetts jumps on the mic for a spot as similarly raged-fuelled as his venomous Avelino collab ‘VEX’.
As a counterweight in tone and pace, Young Kings II also pays homage to both Krept and Konan’s Jamaican heritage, with a feature from prolific Jamaican artist Sizzla on ‘Bedroom’ and dancehall star Popcaan on the sensual ‘Smooth Lovin’. A voice recording of Konan’s father adds a further sentimental layer.
Krept and Konan clearly have a penchant for such small, touching details and moments of mirroring. Just as Young Kingz began and ended with the same titled track, both featuring George The Poet, the album’s sequel begins and ends with ‘Last Cards’ – this time with worldly spoken word segments from actors Damson Idris, for the intro, and Michael Ward, for the outro.
It’s these kinds of pearly wisdoms that demonstrate Krept and Konan indeed have more cards to play, with their music having all the more depth and substance as a result of the lessons learned between their 2013 mixtape and now. Indeed, the young kingz have all grown up.
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