At just 21, the Birmingham-based artist CreeZon has pioneered GRIP HOP, a bold fusion of Grime’s razor-sharp lyricism and Hip Hop’s soulful storytelling, layered with melodic choruses and orchestral intensity. In this candid interview, CreezOn reveals how his formative influences—from breakdancing to Ghetts, from gospel to J Dilla—have led him to redefine UK rap’s sonic identity. Fresh from performing alongside Lady Leshurr and JayKae with the City of Birmingham Symphony Orchestra, he opens up about crafting music rooted in authenticity over virality. CreezOn also shares insights on the cinematic concept behind his forthcoming EP and how his music, including standout track ‘Chosen One,’ is finding its natural place within film, TV, and gaming.
Your signature GRIP HOP sound is a bold sonic statement. What led you to develop this style, and how do you see it shaping the future of UK hip-hop?
Across my journey, I’ve been influenced by and dabbled in many music genres, both as an artist and as a producer. When I first started recording music, I made quite a few Afro-swing, Trap and Drill tracks, cos that’s what was trending at the time. But as I grew older, and more confident in my sound, I started asking myself deeper questions. I asked myself, “Even though I’ve proved to myself that I can make music in any genre, what culture do I truly resonate with? How do I want to be seen?
My life has always been rooted in Hip Hop, Grime, RnB, Gospel, Neo-Soul, and Reggae. I even grew up B-boying (breakdancing). Hip hop and Grime have always been my biggest loves, closely followed by Neo-Soul. Once I realised that, I naturally leaned into those sounds. It became a transition, a step into maturity and self-discovery. These genres give me the space to express myself fully, both emotionally and lyrically. Unlike most people my age, my lyricism has always been inspired by Grime, from writing bars at 13 to tracks like Treble Clef’s Ghetto Kyote. A lot of my peers caught onto the Drill wave heavier than Grime, but this wasn’t the case for me.
For me, these genres all carry a rawness, a distinct soulfulness. And that rawness, that authenticity, is what I believe real creativity is about. I think UK hip-hop has lost a lot of that authenticity ….and this is evident by the repeated lyrical content, visuals and similar sounding beats. That’s not to say people aren’t still out here making substantial, out of the box and raw UK Hip-hop music. Don’t get me wrong, there are still artists making music that’s substantial, original and powerful… … it’s just clear to see that the music pushed in front of the industry today is more based on its virality than its substance. Overtime, music has become more in the background of life, like a multitasking activity, as opposed to an activity in itself, where you actually sit down, LISTEN to your favourite album, and take it in, layer by layer. As attention spans have shortened and talent is often judged by stats over substance, I think we can all agree that UK hip-hop could use a breath of fresh air. GRIP HOP represents that. It demands your full attention, or none at all.
My signature style, which I showcase through GRIP HOP, has been shaped by many influences, both internal and external. Internally, I’m surrounded by creatives every day: producers, MCs, dancers. Within my close circle of friends, the way we make music naturally leans toward that GRIP HOP sound. Because we all listen to Grime, Hip Hop, and Neo-Soul/Jazz, a lot of our beats end up sounding like J Dilla-influenced Grime- raw, soulful, and layered. Externally, my biggest influences in Grime and Hip Hop have been J-Dilla, Busta Rhymes, Ghetts, and Dot Rotten (Zeph Ellis). Their sounds, energy, and approach to creativity have played a big role in how I express myself musically
GRIP HOP is the result of me sitting alone in a studio I owned in 2023, creating music from the most raw and honest part of myself at the time. From the production to the lyrics, even down to the mixing and mastering, this project is authentically me. The fusion of Hip Hop and Grime, with a fresh spin of melodic choruses, has been a powerful journey, and one I’m genuinely excited to share. When we talk about Hip Hop, we’re talking about a movement not just about rap music – we’re talking about a culture.
Hip Hop consists of five core elements:
- MCing
- Breakin’ (Dance)
- DJing
- Graffiti (Art)
- Knowledge
That’s why, with GRIP HOP, my goal was to include enough substance to feed into all of these elements – from the loose, off-grid drums for the dancers, to the storytelling and concept-deep diving for the knowledge seekers. I’ve crafted this EP with real depth and precision, with the intention of bringing ART back in style – not just “making a tune and releasing it, tryna go viral.” Instead, I’m focused on how deeply I can move people. That, to me, is worth way more than any numbers on a screen. I’m coming from a unique angle. I’m only 21, but I’m heavily influenced by the past. I’m resurfacing what came before me and giving it a fresh, modern twist. Ultimately, I’m trying to explain something that’s just a feeling- it’s intuitive, and if you know, you know. GRIP HOP is a major restoration of that feeling.
Sharing the stage with the City of Birmingham Symphony Orchestra alongside Lady Leshurr and JayKae is a massive step for UK rap. What does this performance mean to you, and do you think orchestral collaborations will become more common in the genre?
This performance is easily my biggest milestone so far, and honestly, I’m both grateful and a bit shocked that I was chosen. Because my style and approach are so unorthodox, it can sometimes feel like people don’t fully get it yet. But to see that I’ve made enough of an impact to be placed on a major stage, next to major names, is a big confirmation for me. This is what I’ve been waiting for. Performing is one of my strengths as an artist, I enjoy it . I’ve just been waiting on a stage that’s ready for me.
Your upcoming EP has been described as cinematic and concept-driven. What’s the central theme behind it, and what do you want people to feel when they hear it?
So, the central theme is, of course, the sound of GRIP HOP itself. The EP serves as both a demonstration and an introduction to my self-crafted, raw sound. But beneath that, each track tells its own story.
1.“Not Everything” – The smooth introduction to GRIPHOP. “Not Everything” has a confident vibe, balancing self-growth and personal ambitions with relationship pressures.
2.“Three Shots” – A Triumphant, bold, cinematic anthem celebrating wins and victory through hardship.
3. “When It Rains” – A deeply personal story-telling track about resilience through broken family structure
4.“Chosen One” – A grime-hip-hop fusion with mysterious, orchestral intensity. perfect for film, gaming, and brand placements.
5.“Hit Record ft. Varntae”– An ethereal anthem about confidence, self-belief, and overcoming adversity with spiritual strength and purpose.
Ghetts put you on his “One to Watch” list on Kiss FM, which is a strong endorsement. How did that moment affect you, and has it led to any unexpected opportunities?
That moment was a huge boost for me. It happened back in 2022, I was 18 at the time, and it honestly felt surreal. It was like… one night I went to sleep with not much going on, and the next morning I woke up to a shout-out from Ghetts. We’ve crossed paths and spoken multiple times since, and every time, it’s a vibe of mutual respect. I’m genuinely and wholesomely grateful for his support. Ghetts has been my favourite MC for years, and I’ve learned a lot just by studying his craft. As for unexpected opportunities? Let’s just say… there’s more to come.
Your work with Toddla T on “It’s Our Team” caught attention from The Guardian and Sky Sports. How did that collaboration come about, and what have you learned from working with him
That collaboration came about in a super unorthodox way. So, long story short… my mum went to uni with Delroy Corinaldi, the Founder and CEO of an organisation called The Black Footballers Partnership (BFP). Delroy needed a catchy theme tune for BFP; they had a major campaign coming up focused on the 2024 European Cup. My mum was working with BFP at the time and recommended me and my cousin Ke4t (bad boy producer) for the job. We made the track — and Delroy loved it. One of BFP’s Co-Founders, Eartha Pond, is friends with Toddla T, so Delroy linked us up and arranged for me and Ke4t to head down to Toddla’s studio in London for post-production and mastering. That’s also where Sky Sports came through and interviewed us. The Guardian got involved too — about a week later, they came up to Brum and interviewed us at No.5 Barristers’ Chambers, who support BFP and let us use their space for the piece. Big up BFP for the opportunity. Since then, me and Toddla T have been proper bredrins. We even dropped a freestyle challenge recently on a beat I made at his studio, The Steeze Factory. So yeah… big shout out to my mum, for real. None of this would’ve happened without her. She’s a real action taker.
UK rap is always changing, but few artists take orchestration and cinematic elements as far as you do. What do you think stops more artists from exploring those kinds of sounds?
Reason 1 – Musical IQ. To put it bluntly, and I don’t say this lightly, being good at music is a form of creative intelligence, just like being good at English, Science or Maths. You can learn to be good at music, but the realness, the instinct, that’s something you’re either born with or not. Rhythm is felt. It’s resonance. That level of musical IQ, the ability to arrange layers of sound with true depth and intention, is rare. And without classical or theoretical training, not many artists are able to take orchestration or cinematic elements to that next level.
Reason 2 – Fear of standing out. Let’s be real, people are scared to step outside the box of what’s considered ‘normal’. If one person starts dancing in the street alone and no one joins in, what do people say? “It’s embarrassing.” “They’re crazy.” Exactly. That’s why not many take creative risks. They’re waiting for someone else to move first.
As an independent artist, you’re handling both creative and business decisions. How do you stay in control of your vision while making sure your music reaches a wider audience?
It’s not a task for the weak. Seriously. But the one thing that has kept me grounded and motivated along this path is… my own music. My creations are like my babies. When I listen back to them, I think to myself, “I can’t leave this world without putting these out.” I just know the feeling my music gives is valuable and not just the feeling, but the thoughts it provokes too. I genuinely believe it would be a disservice not just to myself, but to the universe if I didn’t share my music with as many souls as possible.
“Chosen One” has the kind of production that fits into gaming, film, and TV. Have you had any discussions about getting your music into those spaces, and what kind of projects do you think would suit your sound best?
“Chosen One” has given me shivers up my spine more than once. The dark yet luminous harmony of the instruments and vocals, especially on the chorus, makes me instantly picture an intense, emotional, action-packed movie trailer. The outro breakdown, where the track strips back to just drums and e-piano, adds this powerful, cinematic tension that I think would land perfectly in a trailer or dramatic scene. If you listen closely to the project, you’ll notice there’s a recurring theme of rain, both sonically and symbolically. So any intense, meaningful media with a visual rain theme – whether that’s a film, series, or high-concept game – would pair really well with “Chosen One.”
The EP drops on April 25th, right in the middle of both the Birmingham and London CBSO shows. Big waves are moving right now – don’t miss the ride
Discover CreezOn on all major platforms via this link.
Interview by Amelia Vandergast
