Local boy: London's Sway, who beat
US favourite 50 Cent to win
the Mobo for best hip-hop act
Photograph: Chris Jackson/ Getty Images
Surveying the crowd at the 10th annual Music of Black Origin awards, the host quipped that "we've got people with Mobos, people nominated for Mobos, even people with Asbos." If so, the Asbo gang were keeping a very low profile. These were a very sedate Mobos.
The performances were plush and polished, the victory speeches brief and gracious. Even onetime firebrand Chuck D - collecting a lifetime achievement award on behalf of Public Enemy - steered clear of any political statement, instead claiming that he only made music "for the people".
That said, I enjoyed the Mobos about as much as a fish-out-of-water, ageing-white-indie-kid can.
I liked Lauryn Hill's guitar playing, was pleasantly surprised by Lemar's rendition of If There's Any Justice and relished seeing the unsigned London rapper Sway beat out millionaire favourite 50 Cent to win the award for best hip-hop act.
Even the low points held a certain fascination. After watching the excitable, gesticulating Tim Westwood (cathphrase: "Yaknowwarramean?") collect his award for best DJ, I had to wonder quite what the point of Ali G is.
The general view on this year's Mobos is that they are triumph for rising British talent over established American muscle. And yet the British talent honoured at last night's bash covers the broadest of spectrums - from the middle-of-the-road stylings of Lemar through the more abrasive, innovative output of Sway or Kano.
Does this mean that we're entering a golden age for black British music? Or were this year's awards simply a reaction to last year's event, which were criticised for their US bias? Answers in rap stylie please.
