Kano's latest album, Hoodies All Summer, is a riveting piece of social commentary that forces the listener to empathise with London’s drug gangs and consider whether a rise in knife crime might be linked to gentrification and politicians who “won’t give a penny to the streets”. Yet seeing this record’s bold songs performed live at the Royal Albert Hall wasn’t only a validation of the East Ham rap veteran’s worldview, but also for grime itself.

Looking around, the ground shaking as thousands of fans bounced up and down to bangers such as Garage Skank and P’s And Q’s, or jubilantly screamed out Free Years Later’s chicken shop-honouring lyrics, you were reminded just how far grime has come.

This euphoric music never felt out of place in the grandiose setting. By the time fellow UK rap legends Ghetts and D Double E showed up to preform the riveting Class Of Deja, it felt like you were in the presence of kings, each finally at the forefront of British pop culture.

Backed by tubas, drums, saxophones, MPC machines, a choir and a string section, Kano’s music had more bite than usual, and the juxtaposition of heartfelt piano with morose electronic loops and strings during Teardrops connected strongly with the crowd.

If you were to level any criticism, it would be that the obviously shy Kano doesn’t interact nearly enough with the crowd. He also lacks the unpredictable firecracker energy that newer, more transgressive British rap artists such as Slowthai bring to the stage.

Yet shyness is also what makes Kano so endearing. Those in attendance won’t forget this show in a hurry.