Clash (feat. Stormzy)

"Clash" is a powerful and unapologetic celebration of success, wealth, and dominance in the UK rap scene. The song's title itself functions on multiple levels; it refers to the "clash of the titans" as two of the genre's biggest stars, Dave and Stormzy, come together for the first time on a track. It also alludes to the competitive, battle-rap nature of hip-hop, where artists lyrically 'clash' to assert their superiority. The core meaning of the song is a detailed and lavish exhibition of the artists' opulent lifestyles, earned through immense success. They trade boastful one-liners about their expensive watches (Rolex, Audemars Piguet), luxury cars (Aston Martin), designer clothes, and ability to attract women. Beyond the materialism, the song signifies a culmination of years of hard work and struggle, a victory lap for two artists who have reached the zenith of their field. Stormzy's verse also carries a more direct competitive edge, widely interpreted as containing subliminal disses aimed at fellow rapper Chip, adding a layer of real-world rap beef to the song's theme of confrontation. Ultimately, "Clash" is a statement of arrival and an assertion of their place at the top of the cultural ladder, showcasing their achievements as a source of pride and power.

The song unfolds as a competitive, yet celebratory, dialogue between two of the UK's most prominent rappers, Dave and Stormzy. It is a detailed exposition of the immense success, wealth, and status they have achieved through their careers. The narrative is not a linear story but rather a collection of vivid, boastful snapshots that paint a picture of a life of extreme luxury and influence.

The lyrical journey begins with a chorus that immediately establishes the themes of wealth and high fashion. There are references to highly sought-after and expensive sneakers, like the Jordan 4s and Jordan 1s, and a casual mention of owning multiple Rolex watches. A key line highlights the purchase of an Audemars Piguet (AP) watch for thirty-one thousand pounds, specifying its 41mm size to emphasize its value and desirability. The lyrics then weave through interactions with women, described with a detached coolness. One woman is likened to the singer Jorja Smith, while another reference alludes to buying a crocodile bag, immediately contrasted with a 'vegan ting', showcasing a playful, and perhaps ruthless, approach to relationships and luxury. A politically charged line cleverly uses wordplay on 'Tory' and 'Labour' with a mention of Jeremy Corbyn, adding a layer of British cultural commentary to the bragging.

As the verses progress, the rappers delve deeper into their opulent lifestyles. Dave speaks of his expansive car collection and his 'zombies, survival mode' crew, suggesting a tight-knit circle navigating a dangerous world. He uses intricate wordplay, comparing his social media mentions to the secretive 'Area 51' and boasting that the value of the watch on his left wrist, sixty-one thousand pounds, is like a retirement pension. The imagery is one of untouchable success.

Stormzy's entrance shifts the tone slightly, bringing a more direct and confrontational energy, though still centered on success. He boasts about his home having a private cinema and having surpassed all his peers. His verse is also interpreted as containing subliminal disses towards another UK rapper, Chip, with lines about 'getting away with murder'—a reference to the show starring Viola Davis, but also a metaphor for easily winning rap battles or confrontations. He talks about wearing a different expensive watch for every day of the month and being a 'savage' since he was 21. The narrative he builds is one of dominance and earned arrogance, a status solidified through years of hard work and success.

Throughout the track, both artists repeatedly reference high-end brands (Aston Martin, Louis Vuitton), exclusive items, and a lifestyle that includes flying to Dubai and being surrounded by beautiful women. The song is a relentless celebration of their 'wins', a testament to their journey from the streets of South London to the pinnacle of the music industry. It's a verbal duel where the only goal is to out-flex the other, but it's done with a sense of camaraderie, celebrating their joint status as kings of their genre.

"Clash" was released on July 9, 2021, as the lead single from Dave's second studio album, We're All Alone in This Together. The track marks the first official musical collaboration between Dave and Stormzy, two giants of the South London rap scene. Despite this being their first song together, they have a history of friendship and mutual support; Stormzy had previously appeared in Dave's music videos for "Black" and "Location," and the two had publicly supported each other's work. The song was produced by Dave's frequent collaborator, Kyle Evans, who is credited with crafting the drill-influenced beat with its distinctive piano melody. The songwriters credited are Dave (David Omoregie), Stormzy (Michael Omari), Kyle Evans, and Luke Grieve. The music video, directed by Edem Wornoo, was an elaborate production filmed at the Aston Martin manufacturing headquarters in Warwickshire and the legendary Silverstone Circuit. This high-budget visual, featuring luxury cars and a party atmosphere, was designed to match the song's lyrical themes of opulence and success. The album title itself, We're All Alone in This Together, was inspired by a conversation Dave had with the composer Hans Zimmer.

"Clash" operates with a fluid and complex rhythmic and rhyming structure, characteristic of the UK drill and rap genres. The song is not built on a simple, predictable rhyme scheme like AABB; instead, it uses a more intricate pattern of multi-syllabic and internal rhymes within its free verse structure. The rappers often end lines with the same word, particularly the word "one," but use it with different meanings and contexts, creating a unique lyrical motif. For example, Dave rhymes "Jordan 1's," "more than one," "forty-one," and "shorter one," creating a cascade of rhymes that drives the chorus forward.

The rhythm of the track is defined by the skittering hi-hats and syncopated 808 bass patterns of its UK drill beat. The tempo is upbeat, creating an energetic and punchy feel suitable for its confident and braggadocious lyrical content. The vocal delivery from both Dave and Stormzy demonstrates a masterful interplay between lyrical rhythm and the underlying beat. They often use complex, off-kilter flows that weave in and out of the instrumental's pockets, showcasing their technical skill. This rhythmic complexity prevents the track from becoming monotonous and contributes to its high-energy, celebratory atmosphere.

"Clash" showcases a sophisticated use of both musical and literary techniques that define its impactful sound.

• Musical Style: The track is built on a foundation of UK drill, evident in its skittering hi-hats and deep, sliding 808 bass. This is overlaid with a "repetitive, haunting piano" melody, a signature element in Dave's production, which adds a melancholic and cinematic quality. The production, handled by Kyle Evans, creates a soundscape that is both aggressive and smooth, blending the hard edge of drill with a more luxurious, trap-like feel. The arrangement strategically uses silence, most notably before Stormzy's verse begins, to create dramatic tension and highlight his entrance.
• Vocal Delivery: Dave and Stormzy employ a confident, laid-back flow that exudes swagger. They trade bars back-to-back, creating a dynamic interplay that feels like a conversation between two equals. Their delivery is precise and rhythmic, seamlessly riding the complex drill beat.
• Literary Techniques: The lyrics are dense with intricate wordplay, puns, and cultural references. Dave, in particular, is known for his multi-layered bars. An example is his line about his apprentice trying to get "Alan Sugar," a reference to the host of *The Apprentice UK*, which he cuts short, showcasing a playful and self-aware lyrical style. The song is filled with internal rhymes and assonance that enhance its rhythmic quality. Stormzy's verse uses subliminal disses (subtextual insults), a common trope in battle rap, to add a layer of intrigue and aggression.

"Clash" had a significant cultural and commercial impact upon its release, solidifying Dave and Stormzy's positions as titans of UK music. As the first collaboration between the two, the song was a major event in the UK rap scene. It served as the lead single for Dave's critically acclaimed second album, We're All Alone in This Together, which debuted at number one on the UK Albums Chart with the biggest opening week sales of 2021 at the time. The single itself was a commercial success, peaking at number two on the UK Singles Chart and number one on the UK R&B Chart. The song's high-profile music video, featuring the Aston Martin factory and Silverstone Circuit, became a cultural moment, blending Black British excellence with an iconic British luxury brand. The track was widely praised for its lyrical dexterity and the powerful synergy between the two artists. Furthermore, Stormzy's verse reignited his public feud with rapper Chip, generating significant discussion and response tracks within the UK hip-hop community. "Clash" is seen as a landmark track that not only dominated the charts but also showcased the global appeal and artistic sophistication of the UK drill and rap movement.

"Clash" is rich with symbolism and metaphors that elevate its braggadocio to a more complex statement about success and status in modern Britain.

• Luxury Goods as Trophies: The relentless name-dropping of brands like Audemars Piguet (AP), Rolex, Jordan sneakers, and Aston Martin symbolizes more than just wealth. These items are presented as trophies, tangible proof of their victory and ascension from humble beginnings to the top of their industry. The line "My AP cost thirty-one, millimeter's forty-one" is not just a price tag; it's a detailed assertion of authenticity and high status.
• Cultural and Political Wordplay: Dave's line, "Tory puttin' in labour, this that Jeremy Corbyn one," is a clever metaphor using UK political parties. It juxtaposes the Conservative party ('Tory') with the act of 'labour' (work), while referencing the former Labour party leader to create a complex image of his hustle and its rewarding, perhaps contradictory, nature.
• Pop Culture as a Measure of Success: Both artists use pop culture references to frame their achievements. Stormzy's line "Got away with murder, this that Viola Davis one" uses the title of the TV show How to Get Away with Murder as a metaphor for easily defeating rivals in the rap game. Dave's reference to wanting "Jordyn Woods" alongside his Jordan sneakers is a playful, headline-grabbing boast that aligns him with celebrity culture.
• "Clash" as a Concept: The title itself is a metaphor for the competitive nature of the rap industry, a "clash of titans" where lyrical sparring proves dominance. It also reflects the internal clash between their past lives and their current opulent reality.

The most prominent recurring motif in "Clash" is the word "one", which concludes numerous lines throughout the song, especially in the chorus. This repetition is not monotonous; instead, it's a clever lyrical device where the meaning of "one" shifts with each use. It refers to sneaker models ("Jordan 1's"), quantity ("more than one"), measurements ("forty-one"), people ("shortest one", "Jorja one"), and concepts ("Corbyn one", "Davis one"). This repetition acts as a hook and a structural anchor, tying the disparate boasts together and showcasing the rappers' lyrical dexterity.

Another recurring motif is the theme of luxury timepieces. Both rappers make multiple references to owning high-end watches, specifically Rolex and Audemars Piguet (AP). Dave's line "My AP cost thirty-one, millimeter's forty-one" is a central boast in the chorus. This motif serves as a constant symbol of their wealth, status, and the idea that their "time has come."

Finally, there's a recurring theme of cultural references as a status symbol, from namedropping brands like Jordan and Aston Martin to public figures like Jorja Smith, Jeremy Corbyn, Viola Davis, and Jordyn Woods. This grounds their success in a real, contemporary context and allows them to align themselves with other icons of culture and fame.