When Tinie Tempah’s debut record, Disc-Overy, was released in 2010, it arrived at a time when UK hip-hop and the culture surrounding it was about to enjoy a prolific upswing outside of Britain.
The emergence of artists like Tinie, Dizzee Rascal, Wiley, and more – all artists whose unique flows and approach to mixing sounds, influences and genres – repositioned the international focus on music to come out of the UK through the 2010s.
The success of Disc-Overy (double platinum, 2x BRIT Awards, a Mercury Prize nomination), established Tinie Tempah as one of Britain’s finest for this time, and in the 15 years that have followed, the album still holds special significance for the artist and fans alike.
Recent weeks have seen Tinie reconnect with Australian fans, bringing the hits of that album, as well as newer cuts such as “Closer”, “Eat It Up”, and the teased new single “Energy” (out November 14), to this year’s epic Fridayz Live tour.
Reflecting on the experience with Rolling Stone AU/NZ, Tinie draws parallels between Australian music culture now and British music culture back when he was achieving his first big rush of success.
“I’m excited to see what’s coming out of Australia. Kids from different ethnic backgrounds are doing their thing,” he explains.
“I know there’s a relatively large African population here, but then also the Indigenous kids… I didn’t even realise The Kid LAROI was part Indigenous! I know he’s a bigger star, but it’s really exciting to see someone like him coming out of Australia. Even being here for the short time I have been, it’s exciting to think about the future in Australia, culturally.
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“What happened in the UK… it’s feeling like it’s starting to happen here. The UK is a melting pot, especially in places like London; all of the different cultures make UK and London culture what it is. There are real stories here, there are real artists here and there are exciting influences here – Polynesian, Aboriginal, African, Middle Eastern cultures…what could happen here could be phenomenal.”
The ability to deal with imposter syndrome, overcome one’s own circumstances, and navigate a music industry not necessarily built to support Black artists and artists of colour, have all been vignettes of Tinie Tempah’s broader creative story.
Born and raised in London’s southeast, Tinie’s sound and musical imprint has the soul and unique flavour of home within its DNA. Being able to have that emotional anchor and sense of identity within the music, at all stages of his career, has remained important to Tinie as continues to move forward as an artist.
“I remember when I had first started, before Disc-Overy came out, UK rap had a lot of imposter syndrome. We were trying to copy our counterparts across the pond, but it was never going to be the same,” he says.
“What happened afterwards was much more magical. We carved out our own identity. I hear UK rap blaring out over here even, and it gives me the warmest feeling. I remember a time where I’d go on forums and blogs, people would be laughing at the way we sounded. Maybe not Australians, but Americans would be laughing at the accent and talking about how it would never work. To see where it is now, to see the likes of Central Cee and what Dave’s gonna do with this new album…it’s amazing.”
After spending some time out of the spotlight to focus on family and creative rejuvenation, Tinie’s return in 2025 also coincided with the UK’s NTIA (Night Time Industries Association) campaign, Late Night Out. Established to advocate for UK nightlife, and encourage music fans to get back out into clubs and live music venues, the campaign found a passionate champion in Tinie.
Launching at SXSW London in June, the initiative is hoping to foster the same culture for music that Tinie and so many of his fellow artists came up with. The ability to cut your teeth in small venues, working your way up in experience and confidence – with the closure of so many venues across different communities, these opportunities for new artists to develop in this way are diminishing.
“We’re losing three clubs a month in the UK,” Tinie explains. “Culture is changing and people’s behaviours are changing; they’re a lot more health-conscious, they’re going to more daytime events, but when I think of emerging talent, I think of how important all these little venues are across the country.”
“They build artists up, this is how you earn your stripes. You do your 10,000 hours and develop your thick skin,” he says. “Do the awkward shows where only ten people show up, you know? I worry that if we don’t have that, how are we going to develop artists who have longevity like they did before?”
Of his own journey and where is set to take things next, Tinie is driven by similar purpose and ambition that set him on his way early in his career. Now he’s in a place where the ability to create art on his own terms is a blessed reality.
“Making music for as long as I have, as a Black artist… obviously I’ve been very fortunate in my career, but it has been a fight to get to where I am today,” Tinie admits. “As you can imagine. It’s not something I necessarily scream about all the time; I don’t think your story needs to be about it all the time, but it has been a fight.”
“I’m in a position now where I can create on my own terms, make what I want to make. There’s the freedom to put music out when you want. You can make a big deal out of it, or you can just throw a track out there on a random Wednesday and see what people think. There’s something quite liberating about that, as an artist. Also, just looking at my monthly listeners, I feel like I have people who I have to serve, creatively.
“At the end of the day, I’ve personally realised that artists have been given a gift – it brings joy to people, it brings people together. It’s something I feel I need to make the most of and keep doing.”
