MicMic Righteous-Try My Best

When it comes to spitting with passion and hunger few come close to Mic Righteous. Most MCs tend to lose some of this once they achieve some degree of recognition, however all of Mic’s tracks right up to his latest offering ’Ronnie Pickering’ are awash with his trademark ferocity. His fiery delivery is reflective of how personal and emotive his lyrical content can be, which is certainly something unique in a scene that has become inundated with far too many MCs who claim to possess some sort of gangland superiority in an attempt to appeal to a form of pseudo-masculinity. Mic has snubbed this well travelled route and paved his own way with his passionate introspective storytelling. Mic began writing lyrics from a young age and as a result of this he now has an impressive back catalogue of mixtapes, singles and EPs. However I only stumbled across Mic after his now infamous first appearance on Charlie Sloth’s Fire in the Booth, in which the BBC (so much for impartiality) censored the words “Free Palestine”. This moment catapulted Mic into the spotlight beyond that of the UK music scene and was the catalyst that led me to exploring his aforementioned superb body of work.


During my explorations of Mic’s discography, I unearthed a gem entitled Try My Best on Mic’s critically acclaimed second mixtape Kam-Pain. The mixtape as a whole is a great piece of work, every track has Mic’s trademark delivery and is coupled with brilliant production from Preston Play throughout; the mixtape even features two guest spots from the incredible spoken word artist George The Poet. However I feel that Try My Best is just a cut above the rest in all departments. The track is a huge risk; it’s a Mic Righteous take on the legendary Eminem song Stan. Although not exactly a straight cover of Stan, upon hearing Try My Best it becomes clear that they are conceptually very similar, and herein lies the risk. It is no mean feat for an artist of any kind to attempt to take a concept made famous by someone else and try to do something different with it. The pitfalls are plenty, but Mic navigates past them with aplomb and provides us with a brilliant insight into the sometimes difficult relationship that an introspective lyricist shares with his audience; although seemingly very similar to what Eminem does on Stan, thanks to Mic’s unique experiences we actually get a completely different angle.


Without the presence of the subtle, yet no less exceptional production from Preston Play, Try My Best may well of fallen foul to some of the lazy accusations of unoriginality that have been levelled at the track. The beat begins with a slow sombre piano score which is shortly accompanied by the equally melancholy bass drums; which maintain this as a theme throughout the song. The understated brilliance of Preston Play continues, as the sound of fingers frantically dancing over a keyboard punctuate the track, in the same way that the sound of a pencil scribbling once did on Stan.


As we have come to expect from Mic, lyrically, he doesn’t disappoint. The format of the track again bares similarities to Stan, however to truly appreciate how good the track really is, we must focus on the nuances. In each verse Mic plays a different character, and then ties them all together adeptly with his response on the final verse. Adding different characters rather than focusing on just one like Stan, adds a level of complexity and depth not found on Stan. The first two verses are representative of the type of outpouring Mic has had to become accustomed to because his reputation has been built upon his emotionally charged content; which has resulted in his fans sharing their deepest thoughts and feelings with him.

“All I ever do is listen to you/Something inside me tells me this is the truth/I know you feel the pain that I do/Sometimes I even wish I was You”.

However the third verse is by far the most interesting. The third verse focuses on how some of his fans have come to expect a certain type of music from him, and feel so passionately that they are willing to chastise Mic for veering off this perceived course:

“You sold yourself Mic, thats why they call you a celeb/never knew you would pretend/ you aint spreading the truth/you used to represent now you forgetting your roots/you aint fire fam you’re a liar in the booth….I thought you said you couldn’t deal with fakes/after that shit with Cher Lloyd who could still relate?”


The particular track that the angry fan references is called Dub On A Track which also featured two other UK heavyweights Ghetts and Dot Rotten. The trio reportedly received a whopping £8,000 each for their contributions. Some fans felt that this was a departure by Mic from what they had come to know and expect from him. At the end of the day, what some of these self proclaimed “fans” forget that making a living from music is tough, tougher still for the underground artists. Without major label backing they rely solely on the support of their fans for their revenue. Underground fans are often the staunchest critics and will jump at the opportunity to tell their favourite artist that they’ve “sold out” or that they aren’t “real” anymore. However it’s important to remember that all of Mic’s previous projects up until Open Mic were all available for free. So as fans, we ought to be sensitive to the fact that he has to make money somehow. It was one verse, I would hardly describe it as selling out, and I think if any of us were offered 8Gs for a verse we would do it! The irony is that these same fans that are quick to call Mic a sell out, will be the very same ones that don’t buy the “real” music that he puts out; thus making it an unsustainable venture. Thankfully in Mic’s case, these “fans” seem to be a minority as Open Mic went to number one in the iTunes chart 45 minutes after release, it’s evident that most of his supporters are willing to put their money where their mouth is. The moral of the story is if you don’t support the music that you love by purchasing the music or going to shows etc, then don’t be surprised when the artist stops making it.


The fourth and final verse ties this beautifully crafted multi-strand narrative together perfectly, as Mic responds to the questions and criticisms of the previous three verses, with the honesty and ferociousness that has won him hordes of supporters. With the fourth verse Mic gives us an insight into the problems he has faced precisely because of his real and honest lyricism, thereby showing the listener just what a double edged sword it can be.

“These fans get attached to my lyrics/I just don’t get it/is it a gift or a curse? It’s like there’s no winning/ I’ve always spat the same go listen to my old lyrics/ it’s got me thinking have I led them on? Like I call myself Righteous cause I’m never wrong”

The overarching aim of the fourth verse for Mic is to humanise himself, and remind listeners that he cannot solve all their problems he has his own problems he must deal with. Only these problems have been amplified because now he feels a sense of responsibility to these fans that write to him pouring their hearts out expecting him to help them with their problems when he can’t even handle his own:

“Im gonna take this chance and make sure you know the truth/ you might be going through hell/ but understand this I aint coping as well”

But ironically, this will only further endear him to his fans as rather than appearing on some sort of pedestal like the majority of celebrities; allowing himself to appear this vulnerable will only make fans love him even more. All in all this is an incredible track from start to finish. The structure, the beat and of course the lyrical content are all nigh on perfection, therefore it leaves no doubt in my mind that this track Shoulda Gone Platinum! But don’t take my word for it, go check it out and make sure you listen to Mic Righteous’s entire discography in anticipation to the release of his long awaited debut album later this year!


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