In 2005, brothers Joseph and Jamie Adenuga found themselves in a daunting situation following the disbandment of their rap group.

While other members began to regroup, the Tottenham-born siblings chose to navigate their music careers independently—a decision that would ultimately shape their artistic identities.

Now widely recognized as Skepta and JME, the duo established the record label Boy Better Know (BBK).

“They had a massive impact on UK rap, demonstrating that it was possible for us,” remarks Lewisham-based artist Shaybo in a conversation with the BBC.

At this time, grime was still an emerging genre, freshly evolving from the realm of electronic dance music.

Many burgeoning British rappers were signing contracts with major labels to produce what the industry deemed more commercially palatable tracks.

In essence, those were not grime tracks.

However, BBK’s foundational principle was to remain independent and authentic to oneself.

“They’re exceedingly resilient individuals and likely recognized the potential setbacks of signing contracts,” explains Dacre Bracey, founder of RWD magazine, who has been documenting grime since its early days.

While the label features other artists like Frisco, Jammer, and Shorty, “the brilliance of BBK lies within the Adenuga family,” he notes.

A notable early manifestation of this brilliance was their T-shirts adorned with the Boy Better Know logo.

Created by JME, who later graduated with a degree in 3D digital design from the University of Greenwich, these T-shirts gained popularity across London and provided essential funding for the label’s initial ventures, as per Bracey.

“Everyone would sport their T-shirts in school,” Shaybo recalls.

“BBK empowered you to confidently express your true self. I found music I could genuinely connect with.”

Another artist who absorbed this influence during his teenage years was rapper Capo Lee.

Although a few years younger, he attended Winchmore School in north London, the same as the Adenuga siblings.

“When you’re surrounded by negativity, it can be challenging to escape,” he tells the BBC.

“They offered us hope that dreams could be realized.

“I started out as a DJ in secondary school when I was just 13. My friends would gather, and we’d attempt to channel their energy in my room.”

As the late 2000s approached, the label was gaining momentum.

They had dropped numerous successful mixtapes, culminating in the breakout track “Too Many Man,” which charted in the UK singles list.

However, by 2010, the landscape of grime had shifted drastically.

“The excitement had dwindled,” says Bracey.

“The police cracked down on live performances in the grime scene, making it difficult to perform, and the government targeted pirate radio stations.

“Many artists retired, switched genres, or moved on.”

Dizzee Rascal, who once epitomized grime with his Mercury Prize-winning album “Boy in da Corner,” transitioned to more commercial sounds with tracks like “Bonkers” and “Dance Wiv Me.”

Nonetheless, Capo Lee views this commercial breakthrough as beneficial for grime.

“Music during the 2010s was quite different, but audiences became accustomed to seeing Black men on screens,” he explains.

Even amid this quieter phase for grime, BBK continued to produce music.

“JME has always embodied a strong spirit of independence, never swayed by the allure of fame,” reflects Simon Wheatley, a documentary photographer who has known the Adenuga brothers for years.

Skepta briefly shifted directions by signing with Universal, where he released his third album, “Doin’ It Again,” experiencing modest commercial success.

However, he felt his sound was diluted and left the label, returning to grime with the 2014 anthem “That’s Not Me,” a song rejecting commercial expectations and emphasizing authenticity.

The music video, created on a budget of £80, won a MOBO Award, demonstrating Skepta’s ability to thrive independently.

JME’s output culminated in his highly acclaimed 2015 album “Integrity,” which debuted at number 12 on the UK Albums Chart.

“I believe the album’s title perfectly reflects his character,” Wheatley asserts.

The following year, Skepta released his own landmark project, “Konnichiwa.” Featuring some production from Pharrell Williams yet maintaining a solid grime foundation, the album garnered the Mercury Prize.

Released under BBK, it solidified grime as an independently driven genre, free from major label influences.

According to Capo Lee, this era for the label “reopened the eyes and ears of many” to grime.

Emerging artists like Stormzy, Dave, and Bugzy Malone would later take the genre in new directions, but they all initially followed the independent path paved by BBK.

Even artist Shaybo, who doesn’t classify herself strictly as a grime MC, acknowledges BBK’s significant influence on her.

“Grime was my foundation; they equipped me with the skills to rap and the confidence to celebrate my heritage,” the 29-year-old shares.

“When people hear BBK, they instantly recognize it as BBK.”

“Such achievements could only materialize in London or the UK, thanks to the rich blend of cultures,” adds Bracey.

“That’s what makes BBK extraordinary and iconic.”

Additional reporting by Connie Bowker.