Little Simz - "Lotus" (2025)

Simz' rise to one of the UK's biggest rappers is one of the most inspiring success stories for independent artists (and just life in general) as she is one of the few I can think of that has done it pretty much entirely on her own. Performing in a prime Glastonbury slot just under the headliner (Coldplay) in 2024 is pretty insane for an artist that has never signed to a major label. Simz' career really began to take off following 2019's GREY Area, where she hooked up with producer and childhood friend Inflo. The two had an amazing creative chemistry that resulted in three excellent records that were layered in rich and dramatic funk, soul and orchestral instrumentation that matched Simz' intensely personal and heavy lyrics and themes.

During the rollout of the Lotus' singles, it hit the press that Simz' was suing Inflo following an unpaid loan she gave him during 2024 to help fund the first (and at the time only) live show for his project SAULT (which Simz was a frequent collaborator); which left her unable to complete her tax return for last year. With this news coming out, it was evident that Inflo would not be producing this new record and furthermore Cleo Sol, who is married to Inflo and provided vocals to many of Simz' tracks including her biggest hits, would not be featuring. So this is a massive shake up for Simz, creating a record for the first time in a long time without two of her closest collaborators (and friends).

Miles Clinton James has been picked by Simz for production duties this time around, and looking into his work he did some additional production on 2021's Sometimes I Might Be Introvert as well as some credits with Micheal Kiwanuka and on Foal's last album. This sets the record apart from the Inflo trilogy, as while it is still sounds distinctively Simz, a lot of the extravagant orchestral instrumentation has been replaced with a grittier, darker sound reminiscent of UK post-punk. This pretty aptly compliments the main lyrical themes of the record, the majority of which is pretty explicitly about Inflo and the breakdown of their relationship.

The opening track, Theif, comes in with a rumbling bassline and eerie twangs of guitar before Simz' effects-laden vocals swoop in like a phantom from above. The multi-tracked and echo-y hook of "You're a theif!" definitely gives off the intention of Simz presenting herself as a spectre haunting Inflo's conscience. This leads straight into the lead single, Flood, which features some intense tribal drumming and mantra-like lyrics where Simz recites to her self her methods of how she's going to get through this traumatic time and how she's not going to let this happen again. Obongjayar and Moonchild Sanelly are featured on the chorus and absolutely kill it.

The other two songs released as singles are Young and Free. Young is a very interesting and unique song for Simz, being a kind of Britpop-y, post-punk-y, pop rap tune with its Kinks-ian baseline and faux-posh accent that Simz is putting on. The song is clearly a piss-take of something, but I haven't quite figured out what. I like the song, but it does feel very out of place on an album that's otherwise so serious. Free is a neo-soul jam about being kind-hearted and taking life at your own pace; and is a style of song that Simz can write in her sleep to be honest. It's a good song, but does it really do anything to stand out from the several similar songs in Simz' back catalogue? Not really. I feel like Only, which sits inbetween the two tracks on the record, is a more interesting exploration of that style. Jungle's Lydia Kitto takes on the chorus vocals and does a great job. The sauntering, jazzy beat and self assured lyrics about slowly falling in love with no hang-ups or need to rush just oozes cool.

The first half closes out with Peace and Hollow. For me Peace is the weakest song on the record and probably the only one where it feels like Inflo's presence is noticeably missing. The instrumental feels pretty undercooked with a repetitive guitar line that doesn't change or progress throughout the four and half minute runtime, and Mira May's hook of "I need to find some peace of mind" remains identical from the first chorus to the last. Hollow on the other hand, is captivating in it's starkness and simplicity. Simz' spoken word vocals are set against a string quartet and it's the first point in the record where she really starts to dig into the breakdown in her and Inflo's relationship. After a first half that somewhat struggled to find its groove, it really sets the record up for a frankly phenomenal second half.

And that second half opens up with a bang that is the Obongjayar assisted afro-beat jam, Lion. The song just makes you want to move. The chanted outro "We don't care for what they say, that's my superpower" is just so self affirming and uplifting. This leads straight into Enough, which is basically a dance punk song has similar themes about being enough for yourself and knowing that you can succeed. This whole stretch of the record gives off massive main character energy but it just works - I guarantee you that these songs will make you feel good.

Following on from this brief respite, the album takes a turn into some really dark territory in the final four tracks. Blood is essentially an argument between siblings put to music. Wretch 32 plays the role of Simz' brother in a fictional scenario where both siblings have become successful rappers, but the distance and success has only heightened the unresolved trauma in the family. The song is insanely written and delicately balances being hard-hitting and shocking while still being an enjoyable listen. The title track is definitely the elaborate focal point of the album, being a six and half minute, multi part behemoth of a song that sees Simz go to her darkest place and then back out again. The second verse is a long, spiralling rant about the expectations she feels as a public figure and the pressure to be perfect and a 'prodigy'. The track reaches rock bottom, before church bells and choral backing vocals seep into the mix and Simz drags herself out of the depths to begin rebuilding. Micheal Kiwanika provides a cathartic respite on the choruses to prevent the song feeling too nihilistic.

The final two songs are very lowkey, as if Simz has exhausted herself out with the intensity of Lotus, and is now faced with the reality that she has to confront. Lonely is about exactly that, that Simz feels lonley and isolated; and not sure how to proceed with her music career without her key collaborators. It is very raw, and without a lot of the instrumental flourishes that the rest of the album has, which allows for every word to sink in. Blue closes the record out as a very gentle tune that ties up the records themes well. Sampha's soothing vocals provide a sense of relief, as if the pain is coming to the end and Simz is slowly moving forward.

Lotus is a really great record, and proves her talent can withstand even the most traumatic of shake-ups in the artistic process. It's a shame that the first half is just a little bit wobbly (not even inconsistent, just the flow isn't quite there), because the back end is just as good as GREY Area and SIMBI. It's very rare for an artist to go an 4 album streak of work of this level of quality, and it doesn't seem like that streak is going to end anytime soon.

Top Tracks: Theif, Flood, Only, Hollow, Lion, Enough, Blood, Lotus, Lonely, Blue

9/10

Little Simz - "Drop 7" (2024)

 

Little Simz is back with another EP in her Drop series, which sporadically intersperse her main LPs and are generally used as a place for her to experiment a little without the perfectionism and burden of expectation that is a common theme within her music. This one comprises of 7 tracks that incorporate techno, trap and grime with a bit of Latin and afrobeat rhythms - a stark contrast to the soul and funk instrumentals of her past few main albums. 

These tracks are all pretty short, with much less attention to detail than the lush instrumentals of SIMBI and NO THANK YOU. They're repetitive and somewhat hypnotic, and Simz' vocals and lyrics feel much more off the cuff and frankly background-y than the commanding presence she usually has. It's all a bit vibey and unfinished. I've had the pleasure of seeing Simz live a couple of times now, and I just can't see any of these tracks penetrating her live set the same way a couple of the tracks off Drop 6 did.

The opener, Mood Swings is definitely the most complete song on the EP, and midpoint SOS is quite a nice Latin meets deep house track that I can vibe to. The closer, Far Away, brings back some of the jazz and soul that Simz is more known for and I vibe with that also, even if its a lot more lightweight that I'd expect from a Simz track. 

Drop 7 is perfectly listenable but on the whole it just doesn't leave much of an impression. I would have rather this had spent a bit longer in the oven and had more of its own identity, because it is a significant step below everything Simz has put out since 2018 and I'm definitely going to forget about it within a few weeks.

Top Tracks: Mood Swings, SOS, Far Away

5/10

Little Simz - "Sometimes I Might Be Introvert" (2021)

Wow, turns out masters courses are hard work - so this is the longest break I've had on here. Anyway, hopefully back to more regular posts now. Little Simz burst into the mainstream sphere with her 2019 album, GREY Area; a raw and gritty hip hop record with a concise flow and poignant introspective lyrics. It was my favourite record of that year and it has not dropped out of my rotation since. Sometimes I Might Be Introvert, while still of excellent quality, couldn't be anything more different. It is a maximalist, 'magnum opus' scale record that brings back a lot of the neo-soul and funk elements of Simz' earlier output; but amping up the confidence and gravitas to another level. At over an hour long, with 19 tracks (5 of which are grandiose orchestral and spoken word interludes), SIMBI (also Simz' personal nickname) is a behemoth. This dramatic, semi-narrative structure is clearly borrows from hip hop giants like Kanye West and Kendrick Lamar; as does the theming around the struggle between the artist and the person off the stage, and the deeper introspection on Simz' psyche. It is obvious that Simz' is aiming for this record to be mentioned in the same conversations as My Beautiful Dark Twisted Fantasy and To Pimp A Butterfly. And for the most part, she gets there.

The record kicks off with its strongest run, from the opening Introvert to I Love You, I Hate You. Introvert is this massive, world shattering orchestral hip hop song that elevates Simz' lyrics from musings about her place in the world to a 'do or die' level of intensity. This instantly transitions into the gorgeous 2nd track, Woman, featuring Cleo Sol. This is pure neo-soul serenity, with its smooth as anything instrumentation and Cleo's silky vocals on the hook. Woman once again instantly transitions into the jazzy and off-kilter Two Worlds Apart. These kind of snappy transitions are common throughout the entire album and they are all brilliant. Two Worlds Apart starts hazy and relaxed, with Simz rapping in a lackadaisical flow about a failing relationship that has gone stale. She slowly morphs into a more deliberate and confident flow as the track progresses, reflecting her realisation that she no longer needs this person. I Love You, I Hate You might have the most poignant and precise lyrics on the entire record, detailing Simz' relationship with her estranged father and the trauma and baggage that comes with a parent walking out on their family. This is all set to a snappy funk beat and warped, repeated soul sample of the line "I love you, I hate you", that just oozes intensity and importance.

Following this is the first interlude of the record, Little Q, Pt.1,  a spoken word interlude from Simz' cousin leading into Little Q, Pt.2, a song which Simz' wrote from his perspective about the experiences he has been through including a near fatal stabbing which left him in a coma. The song is built around hopeful children's choir backing vocals that give a sense of joyousness and innocence; as if it is relieving itself of the cycle of anger and violence that perpetuates in the gang cultures that sent Little Q to a hospital bed. Little Q, Pts. 1 and 2 sits as sort of a transition from the very funk and soul heavy first few tracks to the much more eclectic middle section, which starts with the first of the fantastical, orchestral interludes. While I certainly get the need for some kind of interludes on the album to break up its various styles and genres, the musical theatre-esque melodrama of them is really on the nose and doesn't really do all that much to smooth over the transitions between the different styled songs. In fact I much prefer the hard, snappy cuts such as the one between Introvert and Woman.

While all the songs in the middle section on the record are at the very least pretty great, it is the part of the record with the most sonic whiplash. Speed is a raw and gritty tune that would've fit perfectly on GREY Area with its gruff bass and fuzzy synth line. This leads directly into Standing Ovation, which follows in the same dramatic and grandiose orchestral style as Introvert. The track is dynamic with a lot of tempo changes; which makes it feel like the grand centrepiece of the album. Then the album whips back to the neo-soul sounds of the first leg with the super sexy and suave I See You, before crashing into another interlude. After this we have the edgy and sinister sounding Rollin Stone, which leads into the biggest 180 on the record, the bouncy synth-funk bop, Protect My Energy. All of these songs are good tracks, but hard to place contextually within the albums flow and progression. It feels like a whistle-stop tour of everything Simz' wants to explore.

After another dramatic interlude, the album does settle down for it's last portion. This begins with the seamless back to back due of Point And Kill and Fear No Man. These jazzy afrobeat songs ooze confidence and charisma. The sound so joyous and free, like a carnival in the street. After one last interlude, the record closes with a couple of more gentle, reflective songs; where Simz reflects on her friends, family and journey. How Did You Get Here is more broad, detailing her journey through school, finding her passion for rap, finding a group of likeminded friends, and then finally striking it out on her own and finding success. Miss Understood focuses more specifically and Simz' strenuous relationship with her sister; and how the demands of being a performing artist has caused them to grow apart. Its a bittersweet and understated way to end the record and features such a soothing emotional hook that has me singing along every time.

While I think GREY Area is technically a better album on an objective level (It's tighter and more consistent in tone and theme) and I still just about prefer it personally, SIMBI's songs alone put it in the same ballpark. I managed to go see Little Simz live a few weeks ago, and the songs hold up even better in that environment. If it had just a little less sonic whiplash, and featured some slightly less on the nose interludes I would not be able to fault it at all.

Top Tracks: Introvert, Woman, Two Worlds Apart, I love You, I Hate You, Little Q, Pt. 2, Speed, Standing Ovation, I See You, Rollin Stone, Protect My Energy, Point And Kill, Fear No Man, How Did You Get Here, Miss Understood

9/10