Today, Nottingham’s superstars, and 2020 BET Award nomineesYoung T & Bugsey are back with another huge remix to their global hit, ‘Don’t Rush’  – this time in the form of a mega French remix featuring none other than Dadju. After the release of their massive Latin remix which featured the popular singer/songwriter Rauw Alejandro, the huge remix with U.S rapper DaBaby and the most recent remix with legend Busta Rhymes – Young T & Bugsey have gifted fans with an astonishing link up, which will no doubt make fans go wild.  On this remix, the French singer comes through and shows just why he is one of the hottest artists in Europe, with his unique and smooth voice – to compliment this amazing track. 

‘Don’t Rush’, taken from Young T & Bugsey’s highly anticipated debut mixtape ‘Plead The 5th which released at the start of 2020, included other hit tracks such as their Platinum selling, top ten record ‘Strike A Pose’ featuring Aitch, and Stand Up Man to name just a few. 

Young T & Bugsey recently made history – becoming the first UK rap duo to ever chart on the U.S ‘Hot 100’ Billboard Chart (peaking at number 56). So far, ‘Don’t Rush’ has garnered well over 50 million views to date on YouTube, has over 182M+ combined global streams, was the most added song at urban U.S radio and reached #34 on U.S Top 40 Radio – all whilst doing over 1M worldwide daily streams, peaking at number #4 on the global Shazam chart and #3 on the U.S Shazam chart, incredibly. Six months after it’s release, the track has also re-entered the UK’s top 20 (after already achieving a Top 20position at the turn of the year) and Young T & Bugsey’s monthly listeners on Spotify has jumped up to over 7M currently – simply amazing!

The original track, which was released last November (and was the most viewed video on GRM for over eight weeks) took social media by storm, after going viral globally, with the infectious #DontRushChallenge. The social media challenge took the internet by storm with fans, social media influencers  and celebrities from all around the world taking part (generating over half a billion views under the hastag on Tik Tok alone). Familiar faces that took part included personalities such as Black-ish’s Skai Jackson, Christina Millian, Shaquille O’Neal, Martin Lawrence, the Cast of Orange Is The New Black, DJ Jazzy Jeff and much more.

With another smash hit under their belt, this amazing remix out now, and new music out sooner than expected, Young T & Bugsey are without a doubt ready to continue putting Nottingham on the map, globally for 2020.

About Young T & Bugsey

Spearheading an emerging Nottingham Rap scene, Young T & Bugsey are the first act from the city to achieve a Platinum certified single (of any genre), as well as the first UK Rap duo to hit Billboard’s Hot 100. The duo met aged 15, having been aware of each other’s DIY recordings, and eventually linked up, first as part of a collective. They quickly found themselves to be on a similar level, musically and otherwise, and zeroed in on their chemistry as a duo.

Being based outside of London, Young T & Bugsey have had a longer and less-travelled path to success. BBC Nottingham‘s Dean Jackson has championed them from the early days, teeing up support from 1Xtra, who tipped them in 2018. 1Xtra backed a series of successful looks including ‘4×4’, ‘En Route’ and ‘Ay Caramba’, before fully cementing themselves in the UK scene in the last year, with the Top 20 hit ‘Don’t Rush’ and Top 10 smash ‘Strike A Pose’ – both A listed at Radio 1.

Young T & Bugsey recently released their debut mixtape ‘Plead The 5th’ featuring 10 brand new tracks plus ‘Strike A Pose’ and ‘Don’t Rush’. The release was heavily supported by Spotify – who selected the duo as their UK Radar act, Radio 1 – who tipped Young T & Bugsey on their ‘Brit List’Amazon – who supported with two billboards in central London, as well as widespread playlist support on Apple Music.

 Since the debut project was released the duo have amazingly been nominated for their first ever BET Award and also been nominated for two awards (‘Best Male’ & ‘ Track Of The Year’) at the 2020 GRM Rated Awards. “Don’t Rush” has also seen global success, surpassing half a billion TikTok views, half a million Instagram posts, and going viral on Twitter. With the help of Epic Records in the U.S, the track has broken in to the Top 20 of Rhythm and Urban U.S Radio, as well as reaching number #40 on U.S Top 40 Radio.

About Dadju

In 2012 Dadju Djuna Nsungula was cleaning at a McDonald’s outside Paris when he heard a familiar song. He was amazed — they were playing his track on the radio. At first his co-workers didn’t believe him; he’d never told them about his guest spot on a track by American rapper Big Ali. He had to show them the music video to prove he was telling the truth.

His family home overflowed with music. Dadju’s father was Djanana Djuna, a vocalist with beloved Congolese rumba star Papa Wemba. Yet even as his brothers went into music one by one, Dadju never considered it an option.

By the time he released his debut solo album in 2017, Dadju had been honing his buttery vocal delivery for five years. Gentleman 2.0 was a collection of upbeat, sophisticated RnB with a distinctive afrobeats flavour, particularly evident in lilting hit single Reine. The next year he won the prestigious Best Francophone Revelation award from NRJ radio. His ambitious second album, Poison ou Antidote, came out in late 2019 with 28 tracks, a cast of impressive collaborators and a dark new thread to Dadju’slyrics. In a few months it racked up more than a billion streams globally.

Dadju believes the unstoppable global rise of afrobeats is thanks to the path beaten by Nigerian artists such as Wizkid and Davido, who are able to access a global audience by layering infectious beats with lyrics in English. Dadju’s latest single is a collaboration with Burna Boy, reigning star of the afrobeats sound.

Yet until now, he wondered if his French lyrics would hold back his international appeal. Now Spanish has entered mainstream US pop via reggaeton, he knows it’s time for French to make the jump. At sold-out concerts in the UK and America, aside from a small group of Francophone expats, the vast majority of audience members were English speakers who couldn’t understand a word. “It makes me happy,” he says, “to see my music can be exported without having to sing in a foreign language. It shows how pure music transcends borders and differences.”