Potter Payper – Thanks For Hating 

Reaffirming his premiere league status...

Shortly after taking home a MOBO Award for Album Of the Year, Potter Payper is poised with a brand new project. Widely acclaimed for his prowess and now able to boast a top-level consistency, ‘Thanks For Hating’ serves as his newest LP release, the mixtape featuring 18-tracks while playing with the format’s limitations.

The Barking rapper kicks off stating “your favourite artist told me I’m his favourite artist”. We’re introduced to the project with punchy powerful bars – raw, convicted and affirming, ‘Inaugural’ marks the beginning of a poignant period of activity. We’re quickly set an extremely high standard. 

‘Trench P (London City)’ is a metaphoric onslaught, detailing a gritty rhetoric whilst he touches on his experiences in London’s trenches. ‘Drive By (ft. Slim)’ continues a similar theme, as the two go back-to-back on the hook seamlessly. 

Singer ADMT tapped in for ‘Midas Touch’ – the last single to come ahead of the tape – an unexampled feature from Potter but one that works well. ADMT’s soulful vocal floats over the piano-led Fricktion beat, the eerie atmosphere unfolding as they story feeling chosen and navigating fame. 

Dissimilar to his last – artist-focussed – project, ‘Thanks For Hating’ looks towards a few features. ‘Free Daff’ calls on U.S rapper Mozzy and Daff himself, authentically storying their experiences with the prison cycle and expertly nodding to Dr. Dre and Snoop Dogg’s classic, ‘Still D.R.E’. 

Referencing its 2021 counterpart ‘Thanks For Waiting’, from the title down the ‘Thanks For Hating’ moniker is instantly intriguing, the beat refined. Despite the murky subject matter, Payper playfully mirrors his runs in Glen Parva, Feltham, Ashville and his glossier life now. ‘Kid In A Court’ also shines at its base level, the instrumental nostalgic in sonics. We’re now midway through the project and his lyricism is unrelenting – word play on heroin, heroine, and harrowing wheel-up worthy. 

Collaborative tracks with Clavish, Born Trappy and Millyz all fit seamlessly, showcasing his genuine artistry. It’s a wholesome feat for the mixtape as KayMuni also appears on ‘Free KayMuni’ and ‘Free Double M’ featuring Marnz Malone. 

‘Sinaloa Cartel’ one of the lighter songs we’re delivered – it floats across the Latin soundscape nicely. Bringing it back down for ‘Rappers Will Be Rappers’, he sets himself apart as he talks integrity in the industry. 

‘My Auntie Gave Me Legal Aid’ sees him open-up about dealing with the loss of his aunt: short and sombre but potent. ‘59901/R (ft. Headie One)’ succeeds with the same solemn feel, referring to that model of rose gold Patek Philippe, playing on the idea of guns and roses. 

The final third is characterised by dissimilar picks. ‘Love Me How’ is a welcomed love song, candid as ever. ‘My City’s Not Safe’ ushers us to the outro, the Chucks and Honeywood produced track infused with a unique vocal but contrasted with a delicate lyricism. The tape ends with a refreshing melody from Nafe Smallz as the pair bask in gratitude. 

The more we see from Potter Payper, the more his status as one of best lyricists within the UK is solidified. ‘Thanks For Hating’ feels like a collection of statements, we’re firmly reminded not just of how well he raps but of his authentic journey, sitting within the crème de crème of the UK rap space.

8/10

Words: Shanté Collier-McDermott

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