14 Grammy Awards, over 30 million albums sold, immortalised in song by Bob Dylan. It's hard to believe that Girl On Fire is only Alicia Keys's fifth studio album, such is the extent of her success. The singer-songwriter's previous release, The Element of Freedom, successfully mined the juxtaposition of powerful beats and understated vocals. And, following the solo piano amuse-bouche of “De Novo Adagio”, Girl On Fire initially looks set to deliver more of the same.

Welcome to another show, in which Joe guides us around some of the weirder, smokier corners of the broad church of hip hop, and discussion returns to how far genre can stretch and where originality can reside in a multi-channel, everything-available-at-once world. We also take a listen to more and less authentic sounds of South America courtesy of a Brit-in-Colombia, a Colombian Brit, and a legend of British underground sounds turning Colombian sounds into house music. There's some neo-psychedelia and neo-folk thrown into the mix for good measure.

There was a strange sense of ghosts, or rather absent presences, in the screening room where I saw Ben Drew’s iLL Manors (that orthography reflects the chosen spelling of the film’s title, and Drew is also as well known as Plan B, from his rapper music career).

One image remains stuck from Watch the Throne's second of five sold-out nights in London; it’s a song-long vision of Kanye West and Jay-Z – aka J Hova or just Hov – sat side by side for Hov’s “Hard Knock Life”. Hov’s words fell out of his mouth seemingly effortlessly as the track's structure emerged while ‘Ye sat in a silent, contemplative stoop - his dripping sweat and jewellery making him look post-marathon mid-set.

Tonight on Channel 4, a new music series begins with a fantastic premise. A group of music obsessives drive around the USA in a London black cab, finding interesting musicians and recording them performing and talking in the back of the cab. Sounds a little bit like the 2008 Stephen Fry in America series, doesn't it? Well maybe, except Black Cab Sessions has been broadcast online since 2007.

Watch the Black Cab Sessions trailer:

I've seen some genre intersections in my time, but gangsta ambient takes the biscuit. Baghdad born South Londoner VersA Beatz began as a grime producer, but like many has moved from that genre's hyped-up energy into the slower, more menacing electronic “trap beats” of hip hop.

It's become a fairly common trope for herbally enhanced rappers to hype up their individuality by referring to themselves as an “alien”, but with Wiley you could believe it. In “Can I Get a Taxi”, the odd extended skit that forms the centrepiece of this album, he inhabits various London archetypes – the yardie, the cockney wideboy, the posh bloke – but while his accents are hilarious, it all feels strange, curious, like a child poking at creatures in a rockpool, and his ever-wayward stream of thought keeps veering off course.

Some critics have lazily compared Baloji to Somali rapper K’nann: both are African rappers who had lucky childhood escapes from countries about to descend into war and chaos, but beyond that they seem to have quite different approaches to what they do. K’naan is as much a pop musician and poet as he is a hip-hop artist, firmly concentrating on melody, song structure and hooks. Whereas Baloji, at least on the evidence of this album, seems to want to engage more with roots music while finding ways for his rhymes to fit in with already established musical idioms.

Friday 9th September

When I lived in Brighton in the mid-Nineties, a certain type was 10 a penny. Young, stoned, middle-class buskers, acoustic guitar strummers who were au fait with hip hop and able to improvise endless streams of witty wordplay and often to make human beatbox rhythms. They tended to have an innate sense that what they were doing was a novelty act, though, and as if embarrassed about adopting the tropes of rap for their whimsical amusements they rarely pursued it as more than a cabaret act – although you can hear echoes of what they did in certain bands of the time such as Gomez.