Ghetts "On Purpose, With Purpose" Review

Ghetts spent decades contributing to the foundations of the grime scene as one of the UK’s most talented MCs. He set himself apart from the rest with his unique approach to hip hop and grime, developing his skill set with each release. Ghetts later unlocked his greatest musical achievement and refined his lyrical abilities on his 2021 masterpiece, Conflict of Interest. It was his sharpest, most sincere, and sonically precise work to date, eclipsing his previous opus, 2018’s Ghetto Gospel: The New Testament. 

Conflict of Interest further solidified Ghetts as one of the UK’s all-time greats who reached a new level as a veteran. According to Metacritic data, it is the fourth most critically acclaimed hip hop album ever. He has proven to consistently raise the bar with each release, forging meaningful bodies of work with clever bars. It is safe to say that Conflict of Interest set the bar incredibly for his next album. Ghetts’s latest album, On Purpose, With Purpose, overwhelmingly meets expectations. He continues to perfect his craft while expanding his musical horizons. 

Conflict of Interest established Ghetts’s working relationship with producer TenBillion Dreams. Together, they fashioned a distinct sound for themselves that remains unparalleled. Ten’s inventive style of beat-making and post-production introduced unexplored pockets for Ghetts to tap into when rapping. The airy and intense percussion, consisting of deep 808s, rattling hi-hats, and snapping snares match his choppy grime flow and meticulously worded punchlines. Thankfully, TenBillion Dreams handles most of On Purpose, With Purpose’s production. 

He provides his most colorful beats to date, starting with the album’s soulful “Intro.” Reminiscent of his show-stopping verse on Dave’s “In the Fire,” Ghetts spits his bars with conviction. He addresses his duties as a father and friend. Ghetts also speaks to his worries about taxes and health rather than getting robbed or arrested, wording it as a double entendre. Additionally, he embraces his own personal shortcomings and hardships as part of his growth, making for a powerful album opener. “Mine” also contains similar chipmunked soul production. 

The other tracks handled by TenBillion Dreams deliver dark and hard-hitting productions, much like the beats on Conflict of Interest. “Anakin (Red Saber)” is one of their most menacing tracks. Ghetts accurately describes his sound as "Substance with a bit of grease." Here, his cadence is more relaxed, whereas he spits cutthroat bars on “Blood On My Hands.” Ghetts raps, “I don't play no instrument, but I made organs move in bodies.” Another clever yet astonishingly violent lyric is, “Woke up with a dry throat and a blade in my hand, I'm too bloodthirsty.” With the help of TenBillion Dreams, Ghetts innovates within his own lane, rapping over a range of sonic textures.

On Purpose, With Purpose builds upon Ghetts’s tough rap style over hard-hitting beats. He also tries an array of different musical styles. The latter half of the album sees Ghetts lending his skills to dancehall, afrobeat, and amapiano with the help of talented artists from each genre. Dexta Daps contributes a soulful chorus to the family-oriented “Hallelujah,” seamlessly blending his dancehall style with Ghetts’s reflective lyrics.

Harry Aye impresses on “Gbedu,” and South African artist Muzi makes “Blessings” his own. Both tracks express gratitude over dancehall and afrobeat. Ghetts also sounds quite comfortable over amapiano on "Tumbi." He is not the greatest singer, but his knack for melody shines through on “Blessings.” His lyrics also do not diminish in substance. He is at his most adventurous during this portion of the album, showing that his creativity stretches beyond his traditional style. 

Many of On Purpose, With Purpose’s guest features allow Ghetts to venture outside his comfort zone, while others encourage him to spit his most ferocious bars. Specifically, he is joined by fellow legends Kano and Wretch 32 for “Mount Rushmore.” Each wordsmith displays their top-tier rapping abilities, resulting in an intense lyrical exercise with no chorus. Ghetts sets the bar high, speaking to the portrayal of his family in his music. He raps, “It wasn't a lack of TLC that made me creep.” Kano comes behind him, delivering arguably the best feature verse of the year so far. His remarkable wordplay is exhibited in clever bars like, “If you knock the Turkey teeth out, bet the lawyers wanna souvenirs.” 

The competition on this track is fierce, but Wretch 32 finishes the song with a stellar verse. He excels with witty schemes and extended metaphors as he raps: “I ain't blaming' sh*t on my race, we can all hurdle / Went from being underground in my shell like a small turtle. Now, I'm Michelangelo and I'm painting the color purple.” Wretch masterfully ends the song with a brilliantly executed scheme that encompasses religion, royalty, and the music industry. 

In addition to cementing his position on the UK’s Mount Rushmore with Kano and Wretch 32, Ghetts continues to bring the younger generation of UK rappers into his world. Drill star Unknown T floats over the TenBillion Dreams-produced “Blood On My Hands.” Lancey Foux adds catchy ad-libs to “Stylish Nxxxa” while trading verses with Ghetts. South African artist Moonchild Sanelly reconnects with Ghetts for “Laps,” recapturing the magic they created in “Mozambique.” She proves once again that she can make a catchy hook with any subject. “Flip mode, gymnast, acrobat. There he goes, run him down, that's a lap,” she raps.

Ghetts brings the best out of Skrapz on “Twin Sisters.” The chopped opera and minor piano melody on this downbeat hip hop track create a haunting atmosphere. As they rap about sex, relationships, and past struggles, the beat accompanies Skrapz's deep vocal tone and humorous delivery.

Throughout its 18 tracks, On Purpose, With Purpose covers a variety of musical styles and subjects. It is very personal, but not as forward as some of Ghetts’s previous works. Both Ghetto Gospel: The New Testament and Conflict of Interest included stories from his past, whereas this album is mostly centered around his present state and the world around him. It is also his most profound political statement yet. Ghetts addresses societal hypocrisy and systematic imbalance on “Double Standards.” He points out various double standards, rapping, “A hero if I kill for my country, and a villain if I kill for my postcode.” Sampha sings a beautifully written chorus for one of the most somber and thoughtful moments on the album. 

The end of the album is where Ghetts is most outspoken, with “Street Politics” covering topics of knife crime and violence. There is also “Jonah’s Safety,” a heartbreaking highlight about the extremes of post-natal depression and abortion rights. “Expiry Date” closes the album on an introspective note as Ghetts speaks to cancel culture, faith, family, and his most painful losses. A powerful closer, the song drives the album’s title of actively living for a greater purpose.

Overall, On Purpose, With Purpose is yet another masterfully constructed work from one of the UK’s premier artists. It is top-heavy, losing its momentum towards the end, but encompasses such a vast range of subjects, styles, and collaborations. Across its 18 tracks, each moment is compelling in its own way, from the songwriting to the production. 

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