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404 Inklings #18
Deeping It: Colonialism, Culture & Criminalisation of UK Drill
Deeping It shines a critical light on UK drill and its fraught relationship with the British legal system. Intervening on current discourse steeped in anti-Blackness and moral panic, this Inkling ‘deeps’ how the criminalisation of UK drill cannot be disentangled from histories, technologies, and realities of colonialism, consumerism and more.
112 pages, Paperback
Published July 13, 2023
19 people are currently reading
497 people want to read
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Displaying 1 - 30 of 30 reviews
October 2, 2024
wish this was longer tbh
October 23, 2024
walking out of my art law class only to read the perfect summary for the discussion we literally just had in the final pages of this book: “As soon as an artform or a culture is seen as valuable in a tangible, capital way, self-expression, community building, and enjoyment are no longer the only goals or ends… the performer does not exist in an artistic vacuum, but works in a wider system of exchange where money is always going to be a motive”
Prior to this I don’t think I gave much thought to drill and how much it reveals about our misplaced moral panics amidst this budding “curiosity” we with dark art and leisure that we foster when its Netflix’s Dahmer but reject and devalue when its an OFB track. But it definitely compounded this “ffs” feeling I’ve had for some time now over how little respect the black artist, the black revolutionary, the black mind gets for all that it creates.
Adèle put it perfectly: “The perceived threat level of Black bodies is already off the scale - add in the defiance of subversive responses to music and it is difficult for Black people that create or enjoy drill to be read as anything other than criminal by Criminal justice systems and their stakeholders.”
Rap is being prosecuted as any other facet of blackness is, and blackophillia exists side by side with blackophobia. This book did a phenomenal job of mapping the landscape of crime, policy, art and consumerism and how drill sits in society amidst mischaracterisations of it as a music form and movement.
A friend sent a tiktok of a few of its pages, and I’m so glad I went ahead and bought it to read the full thing. GREAT read.
Prior to this I don’t think I gave much thought to drill and how much it reveals about our misplaced moral panics amidst this budding “curiosity” we with dark art and leisure that we foster when its Netflix’s Dahmer but reject and devalue when its an OFB track. But it definitely compounded this “ffs” feeling I’ve had for some time now over how little respect the black artist, the black revolutionary, the black mind gets for all that it creates.
Adèle put it perfectly: “The perceived threat level of Black bodies is already off the scale - add in the defiance of subversive responses to music and it is difficult for Black people that create or enjoy drill to be read as anything other than criminal by Criminal justice systems and their stakeholders.”
Rap is being prosecuted as any other facet of blackness is, and blackophillia exists side by side with blackophobia. This book did a phenomenal job of mapping the landscape of crime, policy, art and consumerism and how drill sits in society amidst mischaracterisations of it as a music form and movement.
A friend sent a tiktok of a few of its pages, and I’m so glad I went ahead and bought it to read the full thing. GREAT read.
December 27, 2023
4.5 rating (refuse to mark it down as 4)
As a white person who has only listened to drill on the periphery, I really enjoyed this pocket sized intro into Drill. For a small book, it is 10/10 for anyone who enjoys music history, sociology, criminology, and understanding racism.
I loved the writers style and although I knew a lot of the seminal sociologists (big up folk devils) from previous studies, I loved how Oliver weaves through classic sociological studies right into niche studies on musicology and phonetics.
‘there will always be art movements, rooted in collaboration, resistance, and confrontation, whether it’s drill, punk, reggae, or the blues’
The only reason this isn’t a 5 is because I really wished there was a tiny bit more on how other drill artists have been influenced globally - perhaps more country case studies?
As a white person who has only listened to drill on the periphery, I really enjoyed this pocket sized intro into Drill. For a small book, it is 10/10 for anyone who enjoys music history, sociology, criminology, and understanding racism.
I loved the writers style and although I knew a lot of the seminal sociologists (big up folk devils) from previous studies, I loved how Oliver weaves through classic sociological studies right into niche studies on musicology and phonetics.
‘there will always be art movements, rooted in collaboration, resistance, and confrontation, whether it’s drill, punk, reggae, or the blues’
The only reason this isn’t a 5 is because I really wished there was a tiny bit more on how other drill artists have been influenced globally - perhaps more country case studies?
June 18, 2025
we're half way through the year and this is the first book ive read and its under 100 pages lol take it easy on me ok
good read! we love sociology! there were a lot of theories and stuff in here i already knew about so wasn't necessarily anything groundbreaking but still an interesting read nonetheless
good read! we love sociology! there were a lot of theories and stuff in here i already knew about so wasn't necessarily anything groundbreaking but still an interesting read nonetheless
March 14, 2024
Chefs kiss! I found myself wanting to read more on each chapter which was a good sign. Equally interesting if you love Drill or know nothing about it. Particularly enjoyed Chapter 3: Drill As Art. Some great references to amazing artists, musicians and theorists (enjoyed the link to Sara Ahmed especially) A solid 4 stars for me!
July 18, 2025
This should be obligatory reading for any Russell Group driller that says “rah that’s dutty, is that drill?”
December 11, 2023
A wee book but full to the gills with stuff that people should read.
Oliver's tone is really compelling - clearly well-versed in a lot of academic critical theory but by no means haughty or opaque with that. There's also plenty of use of the kind of language young British people use - the title's 'deeping it' putting that front-and-centre. For its academic qualities, this is a book that's written about the culture, for the culture. It's not the centre of this book but if you wanted to pick through for a bunch of critical references on black culture, black music, black theory, you definitely could.
Oliver's central idea is a defence of Drill music - a UK musical 'subculture' (scare quotes because it's massive) that's often denigrated for its violence. She takes a few approaches to that - the historical denigration of black art, the criminalisation of black communities in the UK, the hypocrisy of a world where violence in white art is passed over without scrutiny but black art is prohibited from any sense of fantasy.
Her sources are many and it's important to say that she uses plenty of figures central to UK drill in 2023 (so far as this 41-year-old understands anyway) - the likes of Digga D, Headie One, AM, Skengdo. Her sympathy for the subject isn't just a case of 'apply academic theory to drill', it's very much a case of sympathising for black art and black artists, and working out from that. Hers is an argument that'd be futile to counter - while she's not uncritical of Drill, taking time to point out the dearth of women rappers, she's no ceding any ground to the hysterical anti-black ideology which colours (!) perhaps a majority of Drill coverage in popular media (or at least broadsheets).
As I say, it's only small but if you're into drill, or into black art then it's probably for you. It's definitely for you if you buy into the idea that Drill's a threat to the public - I can imagine a lot of kids getting their parents this book as a way of pushing back against the sort of cant spoken about what is one of the UK's most vital music scenes in 2023.
Oliver's tone is really compelling - clearly well-versed in a lot of academic critical theory but by no means haughty or opaque with that. There's also plenty of use of the kind of language young British people use - the title's 'deeping it' putting that front-and-centre. For its academic qualities, this is a book that's written about the culture, for the culture. It's not the centre of this book but if you wanted to pick through for a bunch of critical references on black culture, black music, black theory, you definitely could.
Oliver's central idea is a defence of Drill music - a UK musical 'subculture' (scare quotes because it's massive) that's often denigrated for its violence. She takes a few approaches to that - the historical denigration of black art, the criminalisation of black communities in the UK, the hypocrisy of a world where violence in white art is passed over without scrutiny but black art is prohibited from any sense of fantasy.
Her sources are many and it's important to say that she uses plenty of figures central to UK drill in 2023 (so far as this 41-year-old understands anyway) - the likes of Digga D, Headie One, AM, Skengdo. Her sympathy for the subject isn't just a case of 'apply academic theory to drill', it's very much a case of sympathising for black art and black artists, and working out from that. Hers is an argument that'd be futile to counter - while she's not uncritical of Drill, taking time to point out the dearth of women rappers, she's no ceding any ground to the hysterical anti-black ideology which colours (!) perhaps a majority of Drill coverage in popular media (or at least broadsheets).
As I say, it's only small but if you're into drill, or into black art then it's probably for you. It's definitely for you if you buy into the idea that Drill's a threat to the public - I can imagine a lot of kids getting their parents this book as a way of pushing back against the sort of cant spoken about what is one of the UK's most vital music scenes in 2023.
December 31, 2023
I don't know anything about drill as a music genre (sorry), but I see how it being a mostly black genre has made it into a mark for racism and over policing of communities. This book is a fascinanting exploration of how arts can be weaponized against a community, and uses this specific case to explain it.
October 17, 2024
The information within the book is 5/5. However, after the first 2 chapters, it felt a bit repetitive.
August 12, 2024
A really great book about the status of Drill in the UK, there are lots of little fascinating and ultimately sad stories here, but it's a great exploration of the relationship between marginal art and those in power. It's also really well written, falling into a nice middle ground between academic and readable in terms of style. The theoretical concepts are explained very well too and are flawlessly incorporated into the books logic.
However, if there's one thing that prevents this book from being truly amazing is that I find it focuses a bit too much on the theoretical parts and not necessarily enough on the music and art it's about. Maybe this is simply my differing perspective of coming from a literary studies background and not cultural studies, but there were definitely times where I just wanted more elaboration on how this is seen in the music, in the culture at play, just more examples really. Maybe it's also down to an issue in terms of scope, this is not a very long book after all (as that's what this series is about) and I can understand the prioritisation of the theoretical, I think that makes sense, but it just leaves me feeling like there's more to this book. Maybe that more is found in her PhD thesis and that fills in with some of the gaps I find are present, but I just really think that yeah there could be a truly amazing book here if it were just a bit longer and elaborated a bit more.
But that's not to take away from the fact that this book is a really great exploration of the criminalisation of Drill and is absolutely worth a read!
However, if there's one thing that prevents this book from being truly amazing is that I find it focuses a bit too much on the theoretical parts and not necessarily enough on the music and art it's about. Maybe this is simply my differing perspective of coming from a literary studies background and not cultural studies, but there were definitely times where I just wanted more elaboration on how this is seen in the music, in the culture at play, just more examples really. Maybe it's also down to an issue in terms of scope, this is not a very long book after all (as that's what this series is about) and I can understand the prioritisation of the theoretical, I think that makes sense, but it just leaves me feeling like there's more to this book. Maybe that more is found in her PhD thesis and that fills in with some of the gaps I find are present, but I just really think that yeah there could be a truly amazing book here if it were just a bit longer and elaborated a bit more.
But that's not to take away from the fact that this book is a really great exploration of the criminalisation of Drill and is absolutely worth a read!
December 15, 2023
In its svelte 95 pages, this marvellous little book not only unpacks and undercuts many of the contemporary claims made for the dangers of drill – a subset of hip hop with links to other genre – but also manages to channel two of the classic texts of 20th century British scholarship.
Oliver builds a powerful multi-stranded argument that reads drill against other reactionary views of Black music – claims we have heard about the Blues, jazz, other forms of hip hop and more: that it is not music – or that it lacks musicality, that it is ‘noise’ that ignores to rules of music, that it provokes and promotes violence (in drill’s case, that it is at the heart of an epidemic of knife crime) and more. Oliver argues that this not as a musical critique but a racialized one, as one that treats the music as dangerous because it is associated with Blackness and with the not-so-residual outlooks of coloniality. This is a powerful case that we have seen played out in the UK repeatedly for decades (it happens elsewhere, of course, but takes slightly different forms); the UK approach sees similar claims made for grime, for lovers rock, for garage, and more.
It’s a compelling case that she then takes to its next step to show how not only a denial of the form as music but also as an art form. Here she shows an impressive a breadth of vision, drawing on widely recognised understandings of what defines an artistic movement. In doing so, she argues (again, convincingly) that drill artists meet the same criteria of ‘artist’ as Europe’s classical, baroque, and romantic composers. Given the ‘high culture’ validation that often accompanies the denigration of popular musical forms, this is a deft move.
The third part of her case undermining the ‘drill as crime’ association is her exploration of the commodification of the genre, and through it the promotion of drill as a form of ‘dark leisure’ and the ways its image of ‘danger’ becomes part of its commercial appeal. That’s not to say she’s arguing claims for drill’s dangerousness is a capitalist conspiracy to sell more records, but it is to note that capitalism is fluid enough to tame the crime-laced genre as well as the revolution. Whereas the drill-as-crime claims are based on the genre’s Blackness, so too is its commodification – although it is only the former that presumes drill’s literalness, with Oliver citing Ice-T’s often quoted observation: “If you believe that I’m a cop killer, you believe that David Bowie’s an astronaut”.
Oliver weaves her theory and analytical frames through the text in an unobtrusive manner. They are there, they are cited and highlighted, but they’re weighted in a way that they provide a frame that sits lightly around the evidence, giving it form and therefore interpretive meaning. That said, there are two classic texts, only one of which she cites, that kept coming to mind for me as pieces that give this small book considerably more gravitas than its 95 pages suggest. The first, the one she cites, is Stanley Cohen’s 1973 Folk Devils and Moral Panics where she sees the ‘drill-as-crime’ claims through Cohen’s moral panics lens, as a crisis ‘whipped up’ in this case to distract from other policy failures. The second, which she doesn’t cite but whose spirit seems to pervade the text is Stuart Hall, Chas Crichter and others 1978 Policing the Crisis. Here the link is a little less obvious, although linked to the place of criminalising moral panics as means to strengthen the coercive power of state agencies – but it is more in tone, in synthesis, and in framing the criminalisation of drill as an act of the police.
Despite my sense of heavy academic gravitas, this is an engaging, readily accessible analysis of a genre that has been imbued with a sense of social danger well beyond any justification, and a reminder of the way a form of youth culture becomes seen as a marker of all manner of other socio-cultural meanings and characteristics. What’s more, this excellent piece of work emerged from a Masters thesis – I am so looking forward to seeing what she does next.
Oliver builds a powerful multi-stranded argument that reads drill against other reactionary views of Black music – claims we have heard about the Blues, jazz, other forms of hip hop and more: that it is not music – or that it lacks musicality, that it is ‘noise’ that ignores to rules of music, that it provokes and promotes violence (in drill’s case, that it is at the heart of an epidemic of knife crime) and more. Oliver argues that this not as a musical critique but a racialized one, as one that treats the music as dangerous because it is associated with Blackness and with the not-so-residual outlooks of coloniality. This is a powerful case that we have seen played out in the UK repeatedly for decades (it happens elsewhere, of course, but takes slightly different forms); the UK approach sees similar claims made for grime, for lovers rock, for garage, and more.
It’s a compelling case that she then takes to its next step to show how not only a denial of the form as music but also as an art form. Here she shows an impressive a breadth of vision, drawing on widely recognised understandings of what defines an artistic movement. In doing so, she argues (again, convincingly) that drill artists meet the same criteria of ‘artist’ as Europe’s classical, baroque, and romantic composers. Given the ‘high culture’ validation that often accompanies the denigration of popular musical forms, this is a deft move.
The third part of her case undermining the ‘drill as crime’ association is her exploration of the commodification of the genre, and through it the promotion of drill as a form of ‘dark leisure’ and the ways its image of ‘danger’ becomes part of its commercial appeal. That’s not to say she’s arguing claims for drill’s dangerousness is a capitalist conspiracy to sell more records, but it is to note that capitalism is fluid enough to tame the crime-laced genre as well as the revolution. Whereas the drill-as-crime claims are based on the genre’s Blackness, so too is its commodification – although it is only the former that presumes drill’s literalness, with Oliver citing Ice-T’s often quoted observation: “If you believe that I’m a cop killer, you believe that David Bowie’s an astronaut”.
Oliver weaves her theory and analytical frames through the text in an unobtrusive manner. They are there, they are cited and highlighted, but they’re weighted in a way that they provide a frame that sits lightly around the evidence, giving it form and therefore interpretive meaning. That said, there are two classic texts, only one of which she cites, that kept coming to mind for me as pieces that give this small book considerably more gravitas than its 95 pages suggest. The first, the one she cites, is Stanley Cohen’s 1973 Folk Devils and Moral Panics where she sees the ‘drill-as-crime’ claims through Cohen’s moral panics lens, as a crisis ‘whipped up’ in this case to distract from other policy failures. The second, which she doesn’t cite but whose spirit seems to pervade the text is Stuart Hall, Chas Crichter and others 1978 Policing the Crisis. Here the link is a little less obvious, although linked to the place of criminalising moral panics as means to strengthen the coercive power of state agencies – but it is more in tone, in synthesis, and in framing the criminalisation of drill as an act of the police.
Despite my sense of heavy academic gravitas, this is an engaging, readily accessible analysis of a genre that has been imbued with a sense of social danger well beyond any justification, and a reminder of the way a form of youth culture becomes seen as a marker of all manner of other socio-cultural meanings and characteristics. What’s more, this excellent piece of work emerged from a Masters thesis – I am so looking forward to seeing what she does next.
October 2, 2024
Fine. Didn’t really get the need to clutchingly tie things back to “deeping it”… but enjoyed the roasts on Drake.
November 19, 2023
very informative. I didn't know anything about drill (I hadn't even heard of it) nor most of the other black music genres mentioned in this book. I did know that black people (and men especially) are criminalised, but I didn't know how music played into it. this book gave a thorough introduction into how black people in the UK are criminalised on the basis of their culture (and here, music) with a specific focus on the subgenre drill, and lays out how drill is a movement much like how, say, impressionism was. it was also well written with flowing prose that didn't get bogged down in academic references or language, which I really appreciated - especially with a subject so new to me as this one. highly recommended.
December 28, 2024
As I’ve learnt from the 404 inkling series: shutting down voices is a colonial tactic. This book is a wonderful addition into looking at the language and behaviour of colonialism and how is shapes what we call ‘crime’ - in this case, how drill music becomes contextualised by the criminal justice system and by moral panic.
The colonisation of how the mind is made to think a two finger gun salute is ‘criminal’ in comparison to ACTUAL gun salutations during the royal coronation made me laugh (and cry) at how normalised and pervasive our way of associating certain symbols and art is with ‘crime’ and ‘criminality’.
I’d really encourage the author to write more about criminality and colonialism.
The colonisation of how the mind is made to think a two finger gun salute is ‘criminal’ in comparison to ACTUAL gun salutations during the royal coronation made me laugh (and cry) at how normalised and pervasive our way of associating certain symbols and art is with ‘crime’ and ‘criminality’.
I’d really encourage the author to write more about criminality and colonialism.
October 21, 2024
so so interesting ! quite academic but v engaging and punchy, enjoyed the mix of modern case studies and quotes from artists to provide context to the more theoretical concepts but also adele oliver’s descriptions and love for the music rly shone through which was so nice
especially liked chapter 2 and some of the passages about how different genres have influenced each other and public responses to “Black Noise”, and would’ve liked more on the voices of women and queer folks within drill currently
“policing, policy and criminalisation are the cornerstones of colonial suppression: art, self-expression and collective action are beacons of resistance”
especially liked chapter 2 and some of the passages about how different genres have influenced each other and public responses to “Black Noise”, and would’ve liked more on the voices of women and queer folks within drill currently
“policing, policy and criminalisation are the cornerstones of colonial suppression: art, self-expression and collective action are beacons of resistance”
December 30, 2025
‘There is no space for individuality when an entire culture is interpreted as a placeholder for any form of Black expression that can be deemed as problematic and a threat to white civil society.’
Oliver’s approach to critical writing is so engaging, drawing on a wide range of theory and source material, and the end-product is a really engaging and thought-out deconstruction of the popular representation of drill music. There were points where I felt Oliver could have drawn out a point more, but this never took me away from her central argument. Definitely something I’d recommend for someone interested in music/cultural criticism!
Oliver’s approach to critical writing is so engaging, drawing on a wide range of theory and source material, and the end-product is a really engaging and thought-out deconstruction of the popular representation of drill music. There were points where I felt Oliver could have drawn out a point more, but this never took me away from her central argument. Definitely something I’d recommend for someone interested in music/cultural criticism!
September 5, 2023
solid little read— it’s interesting to see how the criminalization of drill parallels the differs from similar practices in america. my one issue was having to look up uk specific law/history references that were name dropped but not explained, but i do realize the target audience is probably a local resident and not a tourist
June 24, 2024
Very very good book and definitely worth reading. However, just not quite five stars for me. I think if I knew a little less about drill and about the issues it raises I may have done so or if it were bigger and more in depth (neither issue the fault of the author I assume, more the format of these books).
August 19, 2024
Incredible book! Loved the historical connections to other sounds / black motifes used to explain the theories presented in the book.
Many things had me shook but especially (spoiler alert) the point made about the criminalisation of guns in certain communities. Would recommend anyone in my life to read it
Many things had me shook but especially (spoiler alert) the point made about the criminalisation of guns in certain communities. Would recommend anyone in my life to read it
February 23, 2025
Great introduction to key sociological and criminological theories within the context of Britain and the criminalisation of Black art forms/modes of expression. If only it was longer, this subject could be a full length book! I longed for a little more depth with certain subject matters and which felt just mentioned in passing. A recommendation nonetheless!⭐️
Read
January 21, 2024Went into this knowing very little about drill but knew that there was some fishy with all the media surrounding it. Adèle Oliver does an amazing job at laying out the land in a really clear and well argued way. I think it’s best read whilst listening to drill
February 14, 2024
Interesting examination of the criminalisation of drill and the artists involved. Taking into account the colonial history of the UK.
October 18, 2024
Loved every page in this book. Every chapter adds up to the next and makes you realise how oppressive systems that preach freedom of speech and freedom of expression actually are.
December 29, 2024
Completely fresh perspective on how racism operates through lens of music, really thoughtful and eye opening book and you keep thinking about it long after reading.
Read
January 22, 2025i need a longer version of this with my interviews and discussion
May 29, 2025
Excellent read on what makes drill music and how the right wing try to weaponise part of black culture despite its rising popularity
July 14, 2025
neeeed more stuff like this. Cutting edge analysis of a cultural sphere that's largely overlooked as relevant or meaningful. Great shit
September 25, 2025
An easy read and I learnt a lot so best of both worlds
December 18, 2025
Needs an accompanying Spotify playlist
January 7, 2026
Really interesting
Displaying 1 - 30 of 30 reviews