“Framed as a Criminal, Rather than as Artist”: A Narrative Study into Meaning-Making by UK Drill Artists

While drill music is often talked about in relation to crime, it is often overlooked as an art form and cultural practice. Consequently, its artists are rarely heard from. To address this societal and academic gap, we have conducted in-depth interviews with ten UK artists from this genre and subculture. This article presents the shared meanings these UK drill artists attach to the motivation to make their own music, the music subgenre and its culture, and its ongoing criminalisation. We do so by conceptualising these meanings as counter-narratives. The article departs from the observation that these counter-narratives present themselves in drill, as a form of expression, on two dimensions: drill as the outcome of intra-group expression of emotions and social relations, and as the platform to engage with social injustice on the inter-group level. An interdisciplinary theoretical framework, combining psychological insights on needs, philosophical cues on (mis)recognition, and the lens intersectionality, allows us to study and bridge these two dimensions. We identify twelve counter-narratives that were validated by a majority of respondents. The study, besides analysing these in-depth counter-narratives, also foregrounds UK drill artists’ agency generally absent from both societal and academic discourse.