Ah the internet. That pervading, all-powerful, omnipotent tool which has changed nearly every aspect of our lives and created a seismic sea change within the music industry not seen since fifties. That lil’ old thing. It has created stars of ordinary people who crave (and have outright tried to avoid) the spotlight, allowing everyone to seize the means of production and carve a niche, a sound, an audience for themselves without the need of record labels or sometimes even actual talent. It has brought an unpredictable, experimental DIY element to music, for better or for worse. Youtube, Spotify, Soundcloud etc has been this current (and to a degree, the millennial) generation’s source of discovering and devouring music, with CD’s and even iTunes being a distant memory. YouTube in particular has allowed novelty acts and serious, pioneering artists to come through a supposedly democratic platform with background (cultural, racial, social, political) no longer being as important as it once was in gaining acclaim and success.
Jimothy is a product of “meme generation”. His initial music found cult success due to his lo-fi production values, funny and relatable lyrics and his unforgettable dancing. On his most famous and first track 'Getting Busy’, he says in his trademark sardonic North London drawl “once a month popping fizzy, hella confident so I can walk up to any piffy”, the song being a simple ode to the pleasure of being busy and healthy. He is wryly funny on 90s hip-hop esque track ‘Future Bae’ (he says he will still love her “even if you wake up with a couple of zits”, and especially “if you ain't got huge big tits”) and provokes light-hearted but truthful social commentary in ‘Subway System’ (banned by TFL due to Jimothy train-surfing an Overground carriage in the video).
It was not clear if he was joking, but it was enjoyable nonetheless and refreshing due to him feeling like a real person. An actual teenager who raps about normal ordinary stuff; things his age group go through whilst conveying what they think in a relatable, genuine way almost similar to Mike Skinner in The Streets’ early days, but without the scope or sophistication. His early shows reflected this. They had a youthful, fun energy that carried a lack of knowing how long Jimothy would last for and what he really was about, but just relishing in the moment. It became clear however, he was being completely serious and as his fame grew, it appears his audience began to take it all face value as well.
Headlining XOYO for AMP London (bumped up the bill after original headliner Theophilus London dropped out a day before due to ‘visa issues’), tonight is a victory lap for an artist who evolved from a meme to a youth idol. Half the crowd are older, industry looking types who appeared bemused by it all, the other half being very teenage and completely sincere. He performs all of the aforementioned tracks, with them being his best which highlight what a unique artist he is and justifying his place in the current UK scene. The playful, 80s ode to style ‘Fashion’, as well as the bouncy, 90s house of the surprisingly drug advisory and health-positive ‘Life Gets Me Lean’ also stand out. However, tracks like ‘I Can Speak Spanish’ (which provokes unexpected and slightly bizarre mosh pits) and the completely generic ‘Burberry Socks’ feel pointless and boring. It makes you wonder: what is he trying to do and achieve here?
He is brilliantly genuine and down to earth on ‘Humble’, yet mindless on ‘Getting Carjacked’. There is also an over reliance on playback, which does not feel necessary considering his rapping is fairly straightforward (which is another strength I might add). Overall it’s a fun show, with Jimothy having a good stage presence that does suggest promising things for the future, but a clearer vision and refinement, as well an understanding of who Jimothy is as an artist is needed.
