Little Simz is – and has always been – anything but a straightforward artist. From the grand orchestral opening of ‘Introvert’ (the quasi-title track from her Mercury Prize-winning 2021 album) to the nostalgic bounce of ‘101 FM’ (from 2019’s ‘GREY Area’) and beyond, she consistently strives to redefine the boundaries of rap and reaffirm its presence at the forefront of mainstream music. Familiar with collaboration, she possesses the artistic generosity and industry savvy to create perfectly aligned features that enhance her own presence rather than diminish it. With her sixth studio album, ‘Lotus’, she takes both of these qualities to exhilarating new levels.
Serving as the true follow-up to 2022’s ‘NO THANK YOU’ – after bridging the (still slight) gap between albums with last year’s tantalizing ‘Drop 7’ EP – ‘Lotus’ sees Simz balancing the introspection and occasional anxiety of her previous release with a genuine sense of experimental exploration and playful energy. On one hand, there’s the cinematic allure of opener ‘Thief’ (an incisive portrayal of personal betrayal); the sparkling, almost vintage Disney sound of ‘Hollow’ (a strings-inflected quest for catharsis); the striking exchange of ‘Blood’ (a meditation on sibling dynamics featuring Wretch 32); and the hard-hitting grandeur of the title track, where Simz’s edge sharply contrasts with the soothing tones of Michael Kiwanuka and Yussef Dayes.
Additionally, high energy fills the air. ‘Lion’ sees her reunite with longtime collaborator Obongjayar for a bold display of self-assuredness, while the exuberantly carefree ‘Young’ features her adopting a pantomime RP accent to lampoon the blissful oblivion of wealthy kids, complemented by a chorus that fits seamlessly within The Streets’ catalog. Conversely, ‘Enough’ emerges as an enchanting, irresistibly danceable track; infused with funky bass and pulsating, LCD Soundsystem-style percussion, it’s a track that should have been a single and, if justice prevails, will surely find its way onto year-end lists everywhere.
Against this backdrop of confident self-assuredness, Simz presents her closing tracks, ‘Lonely’ and ‘Blue’ – two starkly vulnerable pieces that openly explore the insecurities and identity crises that influenced the creation of ‘Lotus’ (“Maybe music just isn’t meant for me anymore / Maybe I’ll erase all of these memories from my core / Maybe I’ll do more acting and less rapping / ‘Cos I don’t even know who I’m meant to be anymore”). Named for the ideas of growth, rebirth, and blooming in the face of imperfection that its namesake flower symbolizes, the album allows Simz to recognize that success and self-doubt can coexist – that she can embody all these aspects simultaneously.
Little Simz has consistently been one of the most engaging, innovative, and essential artists around – and with the release of ‘Lotus’, her legacy as an all-time great has never been more certain.
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