The 18th Day

The blueprint for UK rapper Estelle’s success is a time honoured one: a kid from an underprivileged background uses music as an escape and makes it big. But this path to prominence, though admirable, is well travelled. In 2004 of all years, with hip-hop more popular than ever before, it takes character for a young rapper to matter.
Estelle’s first single ‘1980’ is a definite pop anthem, with huge soul strings over an old school hip-hop beat, as Estelle testifies ”1980, year that God made me”, showing off her gospel past. It’s autobiographical without descending into schmaltz, and that sets the tone for the rest of The 18th Day. If it’s a hip-hop album, it’s as pop as they come. Indeed the only thing Estelle has to thank UK Garage for is the new found respect it’s brought to London MCs.
The production is often like a UK take on Kanye West’s slow jam style, and it suits Estelle, because her voice is so well trained. But her rapping is even better, and on ‘Hey Girl’ there’s a magical reminiscence of Jay-Z at his bleak reflective best. There’s a crushing authenticity about the fact that the darkest moment of the album is actually about losing a friend, not a lover. Estelle’s verses are bitter and when she spits “Everything I did, you deserved it”, it’s tellingly in contrast with the chorus of “Hey girl, I miss you so, won’t you come back”.
The 18th Day is not a classic record or a stunning debut in the Dizzee Rascal mode. It’s not revolutionary or musically daring, but it’s a work which sees Estelle expressing herself in a unique and original way, which is something most of us can only dream about.