This article addresses the linguistic policing of grime and UK drill music. Existing studies often focus on the immediacy of the penal system. This article will instead explore the extent to which institutional bodies uphold and maintain a programme of racialised censorship across radio broadcasts, seeking to understand how these value judgements impact upon creative practice. It presents an ethnographic study of three radio shows that aired on BBC 1Xtra, demonstrating through interviews and analysis how the broadcaster's censorship practice unfairly renders Black artists as dangerous with criminal associations. Lyrical assertions of musical skill are misread as direct threats, while evocations of the quotidian are seen to cause violence rather than reflect artists’ surroundings. Importantly, it will show how artists’ work and words are adversely discriminated against owing to a legacy of racialised public morality that imposes greater sanctions and restrictions on artistic output: radio personalities must strike a balance between presenting voyeuristic excitement about a genre, and the need to meet (racialised) editorial standards; producers assiduously monitor new slang to make sure that it is censored; and artists are encouraged to self-censor and alter their musical output, to protect themselves from unwanted ramifications.