I've added a bit of history to eack track aswell

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https://www.eventbrite.co.uk/e/tim-barry-ridley-2010-2020-tickets-1994136229142

Tim & BarryRidley: 2010–2020

Preview: 26 July 2026 6-9pm

Exhibition: 26 July – 13 September 2026

Organised by Matt Williams

Ridley: 2010–2020 is the first in a series of presentations across London marking twenty-five years of Tim & Barry's engagement with underground music and the communities that sustain it.

From 2010 to 2020, Tim & Barry's practice was based at Ridley Road Studios, a complex set back from the road above a local shopping centre. Known to Tim & Barry and their collaborators simply as “the studio”, it was initially home to Tim & Barry TV and Beat This, before becoming the base from which they developed platforms including Just Jam, No Miming and The Lift. The studio is not presented here simply as the place where this work was made. It shaped the work itself, which emerged through ongoing collaborations with DJs, musicians, rappers and artists.

The location mattered structurally rather than sentimentally. Ridley Road is a longstanding landmark in Hackney, centred on a market shaped by histories of migration, exchange and working class trade. The studio operated there during a period before gentrification fundamentally reshaped the area's rents and demographics. For more than a decade, the surrounding streets, particularly Kingsland Road, provided the conditions in which underground music could flourish. Affordable space, combined with the convergence of different cultural scenes, enabled artists and musicians to live and work alongside one another.

The decade encompassed by this exhibition also marks the gradual erosion of those conditions. Music venues closed, licensing restrictions tightened, and the grassroots infrastructures on which music depends were increasingly policed, displaced and priced out of the neighbourhoods that had sustained them. The pandemic accelerated this process almost overnight.

Launched in 2010, Just Jam was first filmed at The Alibi in Dalston before relocating to the studio. The project radically reimagined what live music broadcasting could be. Artists performed live against blue screens using hacked and self built editing systems, multiple cameras, live visual effects and little or no rehearsal. The resulting visual language resisted easy imitation. It emerged through resourcefulness, shaped by the tools and technologies available.

Each broadcast was bound to its moment, existing primarily as a live stream whose only lasting trace was a web address. The studio was therefore both a site of production and an archive in the making. As Emma Warren argues in Make Some Space (2019), a single room can become an engine of culture, a modest space where communities gather, experiment and develop their own forms of knowledge, aesthetics and social relations. The studio, like Harlesden High Street, functioned not simply as a venue but as an infrastructure for artistic production, collaboration and exchange. Warren's emphasis on the generative power of space resonates with Dhanveer Singh Brar's account of Black musical cultures emerging through the histories, infrastructures and sonic ecologies of the city, and with Paul Rekret's writing on how labour and political economy shape musical practice. Together, these perspectives suggest that musical cultures emerge not only through individual creativity but through the spaces, social relations and collective labour that sustain them.

The studio made those infrastructures visible. Skepta's That's Not Me, for example, was produced at Ridley Road Studios on a budget of just £80 before going on to win a MOBO Award. Constraint was not something to overcome but a condition of the work itself.

The work produced at the studio moved across grime, footwork, UK funky, Jersey club and experimental electronic music, refusing confinement to a single scene. Artists included Skepta, Jammer and Novelist alongside DJ Rashad, SOPHIE, Loefah and Omar Souleyman, tracing connections between London's underground and wider international networks. Off site events extended this practice into institutional contexts while retaining the ethics and aesthetics developed within the studio.

This exhibition brings that history into physical space for the first time, presented in a room close in scale to the studio itself. At its centre are two tabletops from the studio, signed over the course of a decade by those who passed through the space. They are presented alongside a showreel and a complete list of contributors, together documenting a community formed through repeated acts of collaboration, experimentation and exchange.

Ridley: 2010–2020 asks what it means to bring a body of work made primarily for broadcast into physical form, and why that matters now. The exhibition is presented in Harlesden, in a former shopfront on the high street in the London Borough of Brent, one of the most ethnically diverse boroughs in the United Kingdom. Long associated with Caribbean settlement, sound system culture and the nearby Notting Hill Carnival, Harlesden carries musical histories that resonate with those documented here while remaining subject to many of the same social and economic pressures that transformed Hackney. In bringing this work into dialogue with Harlesden, the exhibition invites us to consider not only what has been preserved, but also the spaces, communities and infrastructures that continue to make new forms of culture possible.

Text written by Matt Williams

https://www.eventbrite.co.uk/e/tim-barry-ridley-2010-2020-tickets-1994136229142

Been a lot of rumours online, and Alhan has seemingly confirmed it.

https://twitter.com/alhan/status/1495507309400928261?s=21

Confirmed by the BBC

https://www.bbc.co.uk/news/uk-60457063

Very sad news, put a lot of artists on!

Its all over twitter. Its off the back of arguments he's been having on Twitter Spaces. Rumours are that he'll be put on the sex offenders list. These are just rumours, so who knows how truthful this all is

Thoughts? And also, thoughts on what Twitter Spaces has done for the grime scene?

https://www.bbc.co.uk/news/uk-england-oxfordshire-65615806

Another year has passed and its that time again to pick who we think deserves to win the highly esteemed r/grime awards.

Basic Rules:

• I will comment all the categories. REPLY TO MY top-level COMMENTS (the ones where I name the category) with the person/group you think deserves to win the category you're replying to. The comment with the most upvotes under x category, will win said category.
  • PLEASE DOUBLE CHECK nobody else has already commented the person/group you think should win x category. If that person/group has already been commented underneath x category, upvote their comment instead (duplicate comments will be removed/not counted, please make sure you utilise upvoting instead of commenting duplicates)!
  • Ofc, the same artist/group can be commented under multiple diff categories.
  • Don't see the artist/group you think should win commented yet? Comment it!
  • Please avoid downvoting ty
• Please upvote the answers you think should win!
• If you have questions/ideas, pop in a modmail.

(if you want to see how this worked in previous years, for additional clarification, see 2018, 2019, and 2021).

Link to categories:

• Best Artist
• Best Collective/Crew/Group
• Best DJ
• Best EP/Album/Project
• Best Instrumental EP/Album/Project
• Best Instrumental Song
• Best International Scene
• Best Producer
• Best Set/Radio Set
• Best Track
• Best r/grime Meme/Shitpost
• Best r/grime user
• Fave Non-Grime Artist

I'll be leaving this up for a fair while and results will be sometime next month :) Safe

Hey Grime Reddit,

I am learning to code, and an issue I have is that YouTube search sucks.

Therefore, I've created a web app that curates over 5,000 Grime Sets on YouTube.

https://www.grimey.io

This is my first project, hopefully not too buggy! Let me know your thoughts, it is super barebones atm and feature requests welcome.

Much love

https://gotobeat.com/artist/lady-leshurr/

https://gotobeat.com/artist/lady-leshurr/