Krept: From Rapper To Building A £17.5 Million Baby Business! | E164

After Konan’s stepdad was killed and his mum was shot, Krept and friends sat in a car and consciously chose to focus on music instead of retaliating. The very next release (their ‘Otis’ cover) went viral, leading to Skepta’s tour offer and a professional music career. He stresses that acting on temporary emotions (revenge) could have produced a permanent, destructive outcome.

Krept and Konan treated an Apple radio show like a flagship production—booking high‑profile guests, adding games, and making it genuinely entertaining despite being paid the same as everyone else. That extra effort turned six planned episodes into ~36, built their media reputation, and led to BBC’s ‘The Rap Game’ TV opportunity. He argues most people only meet the brief; few intentionally exceed it to unlock the next level.

Crepes & Cones nearly broke him: disappearing builders, overcharging middlemen, staff unreliability, theft, emotional overload and COVID all hit at once—on top of Nash’s suicide days before launch. He now interrogates every quote, gets multiple comparisons and ‘double‑checks everything’, using that painful experience to become a much more rigorous, self‑protective operator instead of walking away from business entirely.

Krept admits his default is to stay on a ‘treadmill’: work until he’s exhausted, sleep, repeat—never sitting still long enough to fully process the deaths of Nash, Cadet and his uncle. He recognises this has made him colder, quick to cut people off to avoid additional pain, and that therapy would likely force him to confront feelings he’s been running from. He uses Nash’s suicide, which showed no obvious signs, to argue that Black men especially must talk, be vulnerable, and normalise therapy.

Both Stephen and Krept describe destroying their credit with student overdrafts and impulsive spending when they first got money. Krept advises young earners to keep their lifestyle as close as possible to how they were already living, because recurring costs—rent, car payments, bills, holidays, handouts—quietly erode wealth. He acknowledges hip‑hop culture glamorises chains and bottles, but urges artists to limit the ‘starter pack’ and allocate serious capital to assets, investments and ventures.