We're moving forward while honoring that legacy. Obviously, we are always going to give people what they need. We talk about that in our new single “Pack it out” but at the same time, we're gonna take you further too, and people love to take the journey with us; they actually really love it”. Speech of pioneering hip-hop band Arrested Development reflects on both the group’s legacy and its future during an interview on Flip The Script Radio Show. With a career spanning over four decades, HSR decided to dive into AD’s history and their sublime latest album, “Adult Contemporary Hip Hop”.

Formed in 1988 in Atlanta by rapper and producer Speech and turntablist Headliner, the group provided an Afrocentric, socially conscious alternative to the graphic bravado of gangsta rap, which dominated hip-hop in the late 1980s. Success came with their seminal 1992 debut, “3 Years, 5 Months and 2 Days in the Life of...,” which garnered both critical and commercial acclaim. Hits like the undeniably funky "Mr Wendal" made the complex social issue of homelessness accessible to daytime radio, while the Sly Stone-influenced “ People Everyday” depicts the dangers of an altercation with a stranger. Suddenly, what many had considered alternative hip-hop was now mainstream.  These universal themes connected deeply with fans, and the album went on to sell over 6 million copies globally by 1993. AD's unique style, a fusion of soulful, melodic hip hop and thoughtful, provocative lyrics, set them apart from their peers. Riding the wave of success, AD became the first hip-hop act to win the Grammy Award for Best New Artist; they also won Best Rap Performance by a Duo or Group, among their numerous accolades. 

However, their  1994 follow-up, Zingalamaduni, failed to reach the same dizzying heights of adoration.  Internal conflicts within the once-tight-knit crew led to their disbandment in 1996.  Reuniting four years later,  they have continued to tour and release music independently through Speech's label, Vagabond Productions.

Recent additions to the band’s extensive discography include 2024’s “Bullets In The Chamber”. Produced by UK super producer and Chuck D SLAMjamz label artist, Configa, as well as Sol Messiah and Will Montgomery, the album received praise for its politically charged tracks like “And This I Know”. The song cleverly juxtaposes a childlike La La La melody with unflinching lines like “white supremacists running as Republicans” and “Our classrooms are being blown away while Fox saying it's overblown.” The single, “Hip Hop Saves Lives” featuring Chuck D and Grandmaster Caz, meanwhile, is an upbeat, groove-driven love letter both to hip hop itself and the group’s enduring worldwide fanbase. Other projects like 2023’s” On The Cutting Room Floor Mixtape” featured the inspirational single, “Stop”. Dramatic, classical strings help to elevate Speech’s passionate plea as he spits, “so hip hop lets not fight anymore, we ain’t got all the time in the world” 

In July 2025, Arrested Development dropped “Adult Contemporary Hip Hop,” Dedicated to the late Twan Mack, an artist that Speech once described as an “evangelist for hip hop”. The album, which takes its title from a mantra he lived by, is co-executive produced by Speech and Configa, with additional contributions from MRK SX, Ben Marc, and vocalists Tasha LaRae, Fareedah, Ke’Andra, and Bee Taylor.  The 20-track project recently topped the Hip Hop Gods Top 20. Opening with “Let's Get On With It” featuring 1 Love, the production, reminiscent of Marvin Gaye’s “What’s Happening Brother,” with cinematic strings and a jazzy horn riff,  it is the perfect soundscape for blistering lines like “Now consciousness is at a minimal /A President that talks grabbing girls by the genitals resides in the highest office of the land.”  The album’s lead single, the Configa remix of “All I See Is Melanin,” is a joyful tribute to racial pride. The song, which features the debut rap verse by AD dancer, Fareedah, brims with positivity; the rich horn melody, funky guitars, and soulful claps complement the infectious chorus. 

Elsewhere, “Live Forever” featuring Twan Mack is a classic-sounding call to action, over a heavy beat and an intricate piano melody, Speech talks breaking the status quo while aspiring to be better. The track’s boisterous chorus, meanwhile, is begging for live crowd feedback. The hypnotic “Flowers”, on the other hand, chronicles, among other things, the shadiness of the music industry. Its rhythmic synths, soulful falsetto lead, and gospel-tinged background vocals amplify the song’s powerful message.  Meanwhile, “Pearls” serves as a reminder to find joy in living in the moment.  Reflected in the songs' stripped-back production, the minimal electronic arrangement of the verses gives the soaring, optimistic chorus delivered by vocalist Ke’Andra more space to shine. Conversely, “Pulsate,” featuring 1 Love, is an old-school head-nodder.  Impeccably produced, the blend of dreamy synths, hardcore beat, and the repeated refrain of “we pulsate” only draws you deeper into the groove. “Baby Yes” stands out for its retro vibe. With elements reminiscent of “Grooving” by Aretha Franklin, the song evokes the warmth of soul music’s golden era as the group reflects on their experiences touring the globe. 

In the album’s second half, in "Mil Town Soldier," Speech offers a vivid narrative about the decay of his neighborhood and the loss of community. Poignant, not preachy, the song’s heavy percussion and dark trumpet melody only enhance the song’s intensity. Changing pace, the single, “Pack It Out,” is an instant party anthem. The sparse boom-bap beat and mesmerizing loop beckon the listener to the dance floor as 1 Love says, “Get it jumping like Michael Jordan.”; Elsewhere, the sing-along structure and heartfelt intention of “Family” is unapologetically uplifting.  Its earworm chorus has future hit written all over it. The Configa-produced “Stay Awake” combines emotive strings, boom-bap drums, and celestial vocals from Ke’Andra, while Speech’s candid rhyme about the pressure of making a living in today’s precarious music industry makes for one of the album’s most vulnerable moments.

Finally, “Stardum”, the album’s breezy and melodic coda, offers insight into AD’s definition of success and perspective on fame. The tone, both sonically and lyrically, suggests a band more focused on their contribution to music rather than the notoriety it may bring. Musically layered, thought-provoking, and chock-full of killer beats, “Adult Contemporary Hip Hop” is a must-have for all real fans of the genre.

Divine Inspiration: Louisiana hip-hop artist, Wakai, drops his new E.P. "Heaven Made Me Do It"

Louisiana native, rapper, Wakai is emerging as one of the freshest new voices in hip-hop. Raised in Baton Rouge, the wordsmith’s signature sound blends introspective lyrics, smooth jazz-infused production, and neo-soul-inspired vocals. His latest four-track EP, “Heaven Made Me Do It,” is the latest in a slew of releases. Sharing his thoughts about the project on Instagram,  Wakai stated, "This is a time where our art can not only imitate life, we can reflect what we see and help others exist through it all. Let these songs be that for you”.

Born  Austin Johnson, the aspiring artist counts the likes of D’Angelo, Erykah Badu, and Outkast among his influences. Causing a ruckus with a drum kit by age three, by ten, he was, in his own words, “cooking up in the studio”.  Building the foundations of his sound with 2019’s EP, “Pimps & Oppression”, by 2021, he was collaborating with production partner, Wavworld, on “Away Game Vol 2”.  The following year would see the rapper’s studio debut come in the form of “To A Dark Boy,” which included the R&B-steeped “Starter Jacket” featuring Emmavie and experimental jazz of  “When There Was No Sun”. Wakai’s prolific creative streak continued with the verbose and dreamy "Paradigm” and a notable collab with Mynameisntjmack and Tommy Richman, on throwback-inspired “Aslongas”. More recently, Wakai released “Magenta Skin” featuring Kaicrewsade and 2023’s “Some People Scream, Some People Talk”, a project Wakai defined as rooted in overcoming generational traumas, southern bigotry, and learning true self-identity"

The follow-up to “In Between Trouble,” which dropped earlier in 2025,  the thoughtful lyrics and astute observations on “Heaven Made Me Do It” invites us into the mind of the artist. The project, which has an accompanying short film in the pipeline, comes in at a concise yet impactful twelve minutes in length. Opening with the chilled, jazz production and church-ready vocals from Imani Vonsha,  the titular track finds Wakai attempting to break free from his past. He raps, “I've been through some fire you wouldn't understand/ No longer carry luggage like a roadie man”. The high-pitched helium vocals on the hook, while catchy, perhaps substituting them for Vonsha’s powerhouse voice may have created a richer tone. Her soaring vocals do, however, shine elsewhere on the track. The E.P.'s second single, “Hot Comb”, meanwhile, features a stunning contribution by 3LISE, reminiscent of the golden era of  Erykah Badu. The layered arrangement of live horns and jazz piano creates a moment of magic. Using music to banish his inner demons, Lines “Like my image and flock and all these battles I fought/ I felt my faith thinning/ Ended up just trimming the locs […. ]Cleanse my spirit when the lyrics speak and enter my thoughts” shows the rapper at his most vulnerable.

Meanwhile, the warm acoustic guitar and lush background vocals of “1221,” featuring Samwyse, draw the listener into the song’s confronting narrative. Wakai appears to be exploring the relentless grind of pursuing his creative dream, while his family's support helps him remain grounded. Finally, the vintage-sounding sample and hypnotic hip-hop loop of “Khemical” bring the quartet of tracks to a conclusion. The pain in Wakai’s gravelly delivery is punctuated by provocative rhymes inspired by the greed he has experienced despite giving his heart, and the scars this has left behind. The song reaches its peak with the powerful voice of a preacher offering a warning: “The greatest challenge you have to overcome is not overcoming sin, I’m talking about dealing with God.” From his eclectic sound to his search for spiritual connection, Wakai is clearly an artist comfortable walking his own path, once musing to an interviewer, “There is no dress code to creation. Create what you feel, regardless of what others expect you to be.”  Simple but powerful words to live by.

Virgin Territory: Lorde takes a journey of self-discovery on her new album

While Lorde's record label scrambles to identify the marketing genius who greenlit a batch of CDs that are not compatible with CD players, targeting an audience that is also incompatible with CD players, fans and media alike have been frantically clutching their pearls over the album’s artwork. Featuring an X-ray of a pelvis with a belt buckle and an IUD contraceptive device in the frame, the inlay cover image, meanwhile, is an intimate shot that lays Ms Yelich-O'Connor bare literally and figuratively. Leaning into shock value is often a glaring red flag about the confidence or lack thereof an artist has about their work. Still, thankfully, “Virgin”, while not earth-shattering, has enough substance to justify the hype.

The New Zealand native who crashed into the mainstream in 2013 with the monster hit “Royals”  became a critical darling for her mix of darkly honest storytelling and high-end pop. “Pure Heroine”, Lorde’s debut studio album, garnered additional hits, including " Tennis Court” and “Team.”  2017’s sophomore effort, "Melodrama," was equally well-received, hitting the top spot on the Billboard chart.  However,  “Solar Power” in 2021 polarized listeners. Described as Lorde’s “weed album,” the fusion of folksy psychedelic pop confused longtime fans.

Kicking off with “Hammer, it’s clear Lorde is ready for her redemption arc with “Virgin.” Co-written by Jim-E Stack, the bold electronic production simultaneously harbors a sense of claustrophobia and minimalism. Leaving space for the lyrics to resonate, “It’s a beautiful life, so why play truant/ I jerk tears and they pay me to do it,” Lorde sings against a backdrop of sparse, rumbling synthesized beats that climb as if ready to explode into a full-on dance banger but stop short. With a memorable melody and nostalgic narrative, it would be nice to accompany Lorde on her journey of self-discovery for a little longer. Still, as if cutting the idea off at the knees, the track’s three-minute run time leaves it feeling underdeveloped. While this approach cultivates a sense of urgency, it is most likely a strategy to cater to the goldfish type attention span of streaming platforms like Spotify and TikTok.  

Following the slick EDM-pop formula, the bratty delivery of the chorus of "What Was That" has the makings of a Summer smash, but hearing Lorde wax lyrical about her heady days as a drugged-out 17-year-old, now at just 28, comes off as too self-serious. She has not been on the planet long enough to be so jaded. Elsewhere, “Shapeshifter” stands out for being sonically fleshed out. The polished, cohesive arrangement of electronic drum loops, strings, and piano adds a moody texture to Lorde’s light, airy vocals. “Man of the Year,” meanwhile, finds Lorde at her most vulnerable. If you're willing to overlook the reference to her “recent ego death”, a hilarious notion for a world-famous popstar, this mostly acoustic ballad grapples with Lorde's questioning of her gender identity. Growling distorted guitars offer a surprise twist ending for the track, notching its intensity up to 11. 

“Favourite Daughter” is a complex meditation on Lorde’s relationship with that fickle mistress called fame and the danger of craving her approval. Disguised by 80s-inspired handclaps and a fizzy pop melody, the lyrics allow the listener to go behind the curtain to witness the loneliness of stardom. “Clearblue” is one of the album’s more unconventional moments. Written in response to a pregnancy scare, the song, performed acappella, features multiple stacked harmonies. The density of sound could be interpreted as the swirling voices in Lorde’s head as she waited for the test results. While it works well, its abrupt ending is jarring on first listen.

While the concepts here are often not given enough time to marinate in their own energy, the album’s core sound and themes are refined enough to showcase Lorde's evolution both as an artist and a human. We can’t ask for more than that.

R&B Songstress Nia Smith’s Fearless Debut

Album Review

Describing her music as "a place where she can tell all her secrets", Brixton native Nia Smith is one of the music scene's most exciting artists to watch. With a vocal style steeped in soul and confessional lyrics, Smith's talent has already garnered attention from industry heavyweights like Jimmy Naples. Speaking about her debut E.P., "Give Up The Fear" released via Polydor Records, Smith revealed that her growing sense of self-belief inspired the title track. Meanwhile, her single "Personal", which is considered a standout of the collection, draws on the reggae influences of her childhood. The remix of the track, which features reggae icon Popcaan, has, according to Smith, helped her connect with her heritage. Raised in a musical home, the Brit School alum was surrounded by the sound of artists including Nina Simone, Lauryn Hill, and Amy Winehouse.

However, it was her performance of "Wings" by Little Mix at a school talent show that first sparked her musical ambitions. Using TikTok as an outlet to hone her skills, Nia's rendition of Adele's "Set Fire To The Rain" began to gain traction on the platform. Wasting no time, the straight-talking South Londoner earned support slots with Afrobeat artist Tems and the reigning queen of R&B, SZA, at her concert series at BST in Hyde Park. Produced by Grammy winner Jimmy Naples, alongside Tom Valentino and Ed Thomas,  Smith has previously said she hopes her relatable storytelling helps listeners to "find a piece of themselves".