Beats, betong och business : Stockholms Hip-hop i förändring

This thesis explores how Stockholm has evolved into the central hub of Swedish hip-hop, focusing specifically on how sound functions as a carrier of identity, space, and commercialization. Rather than offering a quantitative mapping of data such as streaming numbers or sales figures, the study emphasizes the cultural and discursive dimensions of hip-hop, with a particular focus on sonic expression. It traces the genre's evolution from the synthetic, club-oriented beats of the 1980s to the emotionally charged, autotuned trap productions of the 2020s. These shifts reflect a broader negotiation between locality, global genre norms, and commercial pressures. Through historical analysis and detailed musical case studies of artists such as Leila K, The Latin Kings, Adam Tensta, Kartellen, Yasin, and Einár, the thesis demonstrates how sonic components such as beat structures, production techniques, rhythmic patterns, and vocal aesthetics embody specific urban experiences and articulate notions of authenticity and marginality. A central concept in this analysis is the “Stockholm sound,” interpreted not only as an aesthetic phenomenon but also as a form of cultural mapping and identity construction. The study also highlights the influence of digital platforms like Spotify, TikTok, and YouTube, showing how algorithmic structures shape not only the distribution but also the sonic ideals of the genre. Music is increasingly optimized for virality and platform compatibility. This contributes to the codification of certain sonic elements such as slow trap beats, autotune, and minimal production as signifiers of both authenticity and local belonging. Ultimately, the Stockholm sound emerges as a dynamic and multifaceted construct. It operates as a product of place, a cultural resource, and a commercial strategy. As such, it functions both as a reflection of urban identity and as a contested sonic space where meaning, power, and cultural belonging are constantly negotiated.