Qulture Magazine

Words: Kenny Ross

I’ll admit it. – As somebody whose musical comfort zone generally involves loud guitars, battered drum kits and enough distortion to make the neighbours want to hurt me badly, a hip-hop conference and showcase event isn’t automatically the first thing I’d circle on my calendar, but learning more about this has got me excited!

Returning to Glasgow from 2nd to 4th of September, PITCH has grown into one of Scotland’s most important celebrations of hip-hop, underground culture and artist development, taking over venues including Drygate Brewery, McChuills Music Bar, BLOC+ and MOXY Merchant City for what will be its biggest edition to date. More than 100 artists and speakers are set to participate across three days that combine live performance, industry discussion and creative collaboration.

Naturally, the name that immediately jumped out at me was Birmingham’s Kofi Stone. Not because he’s the loudest artist on the bill.,not because he’s the most controversial….And certainly not because he’s likely to emerge from a cloud of pyrotechnics while riding a giant mechanical dragon.

Kofi Stone simply writes great songs. His blend of jazz, soul and hip-hop, combined with deeply introspective lyricism and an uncanny ability to tell relatable stories, has earned him a reputation as one of the UK’s most respected voices in contemporary rap. His latest project, All The Flowers Have Bloomed, completes a trilogy of albums that has sealed his standing as a genuine artist rather than simply another name chasing trends.

For those unfamiliar with his work, think less posey and more storytelling. Kofi’s songs deal with growth, family, faith, ambition and the awkward reality of trying to navigate adult life while pretending you’ve got everything under control. It’s music with substance, heart and plenty to say. As a result, he feels like the perfect fit for what PITCH Scotland is trying to achieve.

But, reducing this festival to a one-man show would be doing the programme no justice, joining Kobi on headline duties is London’s Jawnino, whose unique blend of grime, jungle and UK rap has made him one of the most well known figures in Britain’s underground scene. His music captures the energy, uncertainty and unpredictability of modern urban life in a way that feels distinctly British.

Equally compelling is Kadiata, an artist and producer whose work effortlessly blends hip-hop, soul, jazz and electronic influences. Plenty of musicians throw around the phrase “genre-hopping” these days. Kadiata is one of the few who genuinely deserves it.

Experimental rapper and producer Tony Bontana also joins the bill, bringing his self-described “Splayed” sound to Glasgow. As someone who spent over thirty years behind a drum kit, I’m always drawn to artists willing to mess with rhythm and challenge expectations, and Tony certainly doesn’t appear interested in doing things the easy way.

Representing Glasgow is Bloody Shield, whose profile continues to grow both at home and internationally. His return to the city feels less like a homecoming and more like a reminder to local audiences that they should probably catch him now before future ticket prices require a small bank loan.

Beyond the headline acts, PITCH continues to showcase emerging talent from Scotland, England, Belgium, France, Germany, Spain and Canada. That international outlook has become a defining feature of the event, creating genuine opportunities for audiences to discover artists before streaming algorithms inevitably start taking credit for it!

Among the Scottish names appearing are Aleena, Begho, Kimono L Riot, Kozy Eli, LikkLe bVnti, LOLA!, Lupo ZenAku, RED KING, Sonedo and Steg G & The Housing Scheme Orchestra, alongside international artists including Fred Gata, Frizzy P & Mr Cole, J Morris, LI$ON, Omar Jatta, raychi and Simora.

What also separates PITCH from the endless conveyor belt of festivals competing for social media attention isn’t just the music. It’s the fact that somebody involved has clearly asked the question -“What if we actually helped artists?…A revolutionary concept, I know right?

Running alongside the live programme is a conference examining some of the biggest issues facing musicians today, including representation, organisational change, sustainable artist development, revenue streams, international opportunities and music sync opportunities across film, television and gaming.

One of the standout discussions will see UK Music’s Head of Diversity, Eunice Obianagha, present findings from Black Music Means Business: Driving Economic Growth in the UK, a landmark report examining Black music’s cultural and economic impact through three decades of research and analysis.

Elsewhere, representatives from Generator, BLK SCL!, 677 Media Management and Finesse Foreva will examine what meaningful artist development actually looks like in 2026. Which is refreshing, because for years “artist development” has often seemed to translate as “here’s a ring light and an Instagram login, good luck, now f*** off.”

The business side of music receives equally serious attention, with sessions led by Kenny Barber of PRS for Music and Ben Wynter of Unstoppable Music Group focusing on rights, royalties, career sustainability and understanding the value of creative work. Not the sexiest topics perhaps, but neither is paying tax, and both become important remarkably quickly.

New for 2026 is Syncstate, bringing together music supervisors and sync specialists from Wracket Music Supervision, Pirate Sound, HOOK & Co, CLK Creative Works and Brooklyn Music Experience. For artists hoping to place music in film, TV, advertising or gaming, access to these decision-makers could prove invaluable.

There will also be an exclusive fireside chat with Grammy-nominated producer, manager and entrepreneur Cory Litwin, founder of 2wenty 2wenty Music Group. Litwin spent more than a decade helping build Murda Beatz’s career, co-produced Drake’s diamond-certified hit Nice For What, and now works closely in management with hip-hop legend Busta Rhymes.

The wider programme includes workshops, open mic sessions, A&R listening panels, networking events and industry mixers featuring organisations and platforms including Mixtape Madness, Notting Hill Music, BACKSPIN Magazine, The Remix Project and Artistic Palace. Festival organisers from FOCUS Wales, Iceland Airwaves, Nuremberg Pop Festival and Pro Weekend Fest will also be in attendance, further strengthening the event’s international links.

Richy Muirhead (Co-Founder and Festival Director of PITCH Scotland) said:

“Five years into PITCH, this is our biggest and most ambitious programme yet. With around 100 artists and speakers joining us across three days, PITCH 2026 will bring together an extraordinary mix of Scottish, UK and international talent – creating opportunities for new connections, business and creative collaboration, while shining an international spotlight on the artists and communities driving Scotland’s music culture forward.”

Importantly, Scottish music remains at the centre of everything. Organisations including Be United, Brightest Light, Eden Festival, Hip Hop Scotland, Kin-Tu, Off The Record, Raven Afrikulture, the SMIA and Wide Days will all contribute, while 2025 SAY Award winners Kai Reesu will also be represented…

There’s even a dedicated songwriting camp hosted by Up2Stndrd –  bringing together artists and producers from different countries to collaborate, exchange ideas and create new material. It’s the sort of initiative that rarely grabs headlines but often leads to the collaborations everyone is talking about a year later.

And perhaps that’s the real story of PITCH Scotland. Yes, Kofi Stone is a major draw. Yes, the headline bill is genuinely impressive, but PITCH has evolved into something bigger than a collection of gigs. It’s a place where artists can perform, learn, connect, collaborate and hopefully leave with a clearer understanding of how to survive in an industry that often feels determined to make that as difficult as possible.

You might arrive for Kofi Stone. – You might leave talking about Jawnino, Bloody Shield, Aleena or even an artist you’ve never heard of from Belgium, Germany or Spain…Either way, you’ll almost certainly leave having discovered something! In a world where too many festivals offer little more than overpriced food and too tight a wristband, that’s pretty decent!

For the full programme, visit www.pitchscotland.com and @pitchscotland

Tickets are on sale now, with 3 day PITCH Pro passes from £40, day passes from £25 and single gig tickets from just £12, plus booking fees. For tickets visit Eventbrite: https://www.eventbrite.co.uk/e/pitch-scotland-2026-conference-showcase-tickets-1982273157375?aff=oddtdtcreator