A decade after his breakout Link Up TV freestyle, Central Cee’s awaited debut album Can’t Rush Greatness has arrived. Since then, the 26-year-old West London artist has climbed to global fame with hits like “Doja” and “Sprinter”, earned accolades, made headlines, and recently sparked tension with Aitch over lyrics in “5 Star” (“I felt like a prick when I went to the BRITs/They gave the award to a guy called Aitch”).
While others might’ve rushed an album after early success, Cench took his time – as the title suggests. His mixtapes Wild West and 23 showed promise, but Can’t Rush Greatness puts him in the conversation for rap’s elite.
Here are our initial thoughts after the album’s first weekend.
Best song?
JP: “Limitless” is the type of contemplative track you want to hear from a young rapper like Cench, one that allows them to dig deep, get vulnerable, and share perspectives that we, as listeners, probably would’ve never thought of ourselves. Produced by Einer Bankz, Gabe Lucas and FRAXILLE, with vocal contributions from rising singer-songwriter Sekou, Cench opens up about some of the painful and traumatic things that have happened in his life, like close friends dying before their time and overnight stays at the traphouse, waking up with “spots on my face from germs.” This is self-therapy in front of millions of people, millions of strangers, and while this was obviously a heavy lift emotionally, as it likely was with “Don’t Know Anymore” and some of his previously released cuts, something tells me that Oakley Neil Caesar-Su has only scratched the surface on his backstory.
Yemi: I really like the theme and concept of “Gen Z Luv”, but I find myself going back to “Gata” a lot. The beat is super-addictive—shouts to Frank Rio and Albert Hype—and it has the Central Cee that I rate: braggadocios but calm with it. “Gata” makes me appreciate how tight the West Londoner’s flows are too; the instrumental takes all kinds of turns and yet he holds down like it’s no bother. Not to mention Puerto Rico’s Young Miko on the feature—she was gliding. When you want to appreciate rich people doing rich people things, you stick this one on.
James: For me, it would have to be “Up North”. This is probably the best example of Central Cee’s more evolved writing. Rhyming hospital with hostile is outrageous (in a good way), but it’s not just the wordplay. Recognising that a lot of his fans can’t relate to the trap talk and that there’s more to life than wealth is what sets this one apart. That’s not to say he can’t still flex—and he does so with flare plenty of times—but this kind of nuance is refreshing.
Biggest skip?
JP: When I saw the music video preview to “Truth In The Lies”, I was waiting for Ed Sheeran to pop up on my screen and that is the honest truth. It might just be my ears, but Cench sounds a lot like our ginger-haired friend on this one, and while I can appreciate him taking a risk to try out something new with the singing, it didn’t hit the right note for me. I do kinda like the sample of Ne-Yo’s “So Sick” on production, though, which is what some people seem to have issues with. Lil Durk’s verse is okay, but I’ve heard him do better for others; he would’ve suited a more hard-hitting production like “BAND4BAND”, or even “St. Patrick’s”. If “Truth In The Lies” came on the radio I wouldn’t change the station; it’s not that bad. I just wouldn’t choose to go back to it. The best song about love and relationships on CRG is, without a doubt, “Gen Z Luv”. It might even trump all the others he’s released in the past on the topic.
Yemi: If I had to pick one, it’s probably “Truth In The Lies”. This is down to a couple of things: not liking Cench singing and not being the biggest fan of Lil Durk. But I can see radio lapping this one up, both here and in America, thanks to the Ne-Yo sample.
James: “5 Star”. It’s not necessarily bad, but it didn’t quite match up with some of the other tracks and felt like he was retreading familiar ground.
Best thing about the project?
JP: The ‘UK music to global stage’ conquest set by Skepta during grime’s mid-2010s renaissance has now been completed in Central Cee. The guy hasn’t let his foot off the gas since 2020’s “Day In The Life”, and his hunger to show and prove is still as evident—you can hear it all throughout CRG. Cench’s sound is UK to the bone: his flow and cadence lives in the realm of drill, while his production choices always bring it back home—some nodding to grime, others to underground UK trap. He also likely learnt the importance of clarity from watching his idol, Skepta, at work. The Britishness of CRG alone, while being the big, international rap moment that it is, should put a smile on the face of every UK music fan (the critics, too).
Yemi: Cench is really rapping, man. After listening to this album, I don’t think anyone can deny that he can bar; witty raps and punchlines for days, he can also paint vivid pictures. He draws you in, whether you’re a fan or not. Debut albums are such an important moment for an artist, and he could’ve easily followed the same formulas that have worked for him up to this point. He could’ve played it safe and packed the album with features and hits and aimed to go fully pop. But he kept it rap. CRG shows that Cench is a real student of the game. I’ve appreciated this about his previous projects, but it’s really crystallised on this one.
James: The guy knows a hit. He’s spent a decade perfecting a flow that never fails to stick in your ear. While he doesn’t switch that up too much, what he does reveal on this album is himself. More than ever, we get talk of mental health struggles, how at the age of 14 he fought homelessness and poverty after leaving home, as well as the privacy he has had to sacrificed for success. Even on the tracks that talk about subjects we’ve heard before, his wordplay is smarter and more self-aware.
Worst thing about the project?
JP: It would’ve been cool to see one or two lesser-known UK acts feature on CRG, or even a posse cut with a handful of rising talents he’s currently rating. I fully understand that this is a big label drop and one that couldn’t afford to have any major missteps—let alone from a featured act—but it would have been a touch to show the world that, here in the UK, there’s a lot more where Cench came from. Next time, eh?
Yemi: Dave’s feature on “CRG” didn’t do much for me and the track itself did feel like a leftover from their Split Decision EP. The track isn’t horrible by any means, but for two respective titans, it probably could’ve been a bit better.
James: It was great to hear him open up more, and try out slower instrumentals and tougher subject matter, but he could have gone even deeper. I know people come to Central Cee for motivational get-money bangers, but it was the candid talk of street life and mental health that really shone. His writing is better than ever on this album, but it felt like he could have gone further with that.
Best feature?
JP: 21 Savage on “GBP”, with Skepta on “Ten” a close second. Who knew Cench’s tightly-coiled flow would mesh so well with Savage’s laxed lyrical style? Over a melodic bed of dreamy keys and skittering, skeletal drums, courtesy of producers Jonny Leslie, Poncho, Harry Beech, Eighty8 and LIHON, the two rappers complement each other extremely well on “GBP”; Central Cee brings 21 into his world, and 21 sounds right at home. Must be the London in him.
Yemi: Skepta, by a mile. His verse on “Ten” had the feeling like he had something to prove, that he’s still that guy when it comes to this UK thing: “Every year, I’m in the UK top three/Talk about worldwide, then we in the top ten,” the 42-year-old raps, and he’s not wrong. It’s always refreshing when a legend spits with so much intensity, despite over 20 years in the game. I wouldn’t be mad at more collabs between the pair if they sound anything like this.
James: Young Miko on “Gata”. Central Cee’s well-oiled flow brings Young Miko’s aloof delivery and the choppy instrumental together beautifully. And, to be honest, I wish we’d had more of this. Given Central Cee’s globe-trotting, this was a prime opportunity to showcase talent from some of the places he has visited and strengthen connections he’s made with new and established talent. Features from big-name US rappers are expected, but almost too obvious. As much as Young Miko shone, it would have been nice to have more.
Overall first impression?
JP: Can’t Rush Greatness is an instant rap classic… There! I said it. File it next to Skepta’s Konnichiwa, Dave’s Psychodrama, J Hus’ Common Sense and Stormzy’s Gang Signs & Prayer as a Brit-rap Hall of Famer. From production to subject matter to album rollout, Central Cee (whom I’m probably a bit biased about because we’re both Guyanese) did what was necessary here, and then some. He should probably take a break now and enjoy the fruits of his decade-long labour. West London should be proud. 4/5
Yemi: He delivered. Simple as that. CRG shows Cench has all the range needed to make the top and stay there. Whether it’s spitting on UK rap beats, switching up his flows or trying his hand at singing, he took a level of risk throughout the album and it paid off. It’s an album I can listen to from front to back with no problem, with enough variety to keep it interesting. It has crazy replay value and I think time will be good to this album; it moves the sounds of today forward in such a way that I think will translate well in a few years’ time. Cench is as close to a complete package as we have in the UK without being a legend yet—time will tell on that—and Can’t Rush Greatness should rightfully cement his place as one of the biggest and best out right now. 4/5
James: Central Cee is about as reliable as they come. Stick him in a studio and he’ll give you the goods every single time. We got to hear a different side of Cench here; candour and introspection look good on him. His talk of leaving home as a teen and the hard choices he had to make along the way are more compelling than bravado—at least to this listener. If anything, it would’ve been nice to hear more… Maybe that’s for album two. 4/5
