A tightly packaged, yet strangely unfocused tape...
Lizzo's ascent was built on her persona – a multi-talented artist whose foundational flute skills and witty lyrics didn’t resonate in her early works until she discovered a formula that felt authentic. After taking a break following legal actions involving her team, ‘My Face Hurts From Smiling’ emphasizes her core strengths, particularly her sharp rap skills, yet it struggles to make an impact, hindered by an unvoiced need to counteract online narratives.
It's bold and loud, but ultimately overwhelmed by its own din. The opening track ‘CRASHOUT’ is a chaotic mix, while ‘YITTY ON YO TITTYS (FREESTYLE)’ is brash but lacks nuance.
This mixtape prioritizes immediacy, with tracks like ‘GOTCHO BITCH’ refusing to linger. ‘NEW MISTAKES’ provides a moment of resolution, whereas tracks like ‘LEFTRIGHT’ and ‘DROPPIN ON IT’ come across as workout music – dynamic and lively, yet nothing beyond that.
Two guest features bolster her efforts – Doja Cat enhances ‘STILL CANT FUH’ while SZA lends her talents to ‘IRL’; both offer unique contributions that effectively disrupt Lizzo's dominance. The soulful touch from SZA offers a welcome contrast, as Lizzo’s delivery is more aggressive and abrasive, which becomes tiresome throughout the mixtape.
The mixtape concludes abruptly with ‘CUT EM OFF’ and ‘DITTO’; ‘My Face Hurts From Smiling’ is striking but fleeting. Lacking depth, the release concentrates solely on one facet – Lizzo’s hard-hitting flows – while neglecting other essential elements. There’s a sense that the mixtape fails to unify despite its apparent focus; 'My Face Hurts From Smiling' does not resonate, leaving the impression of an artist disconnected from the audience she cultivated. It evokes memories of Lizzo’s earlier works – undeniably gifted, yet it raises questions about whether her fans will embrace this effort after enjoying her flute-infused performances.
5/10
Words: Robin Murray
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Lizzo's ascent was based on her persona; despite her multi-talented nature, her early performances, including her flute-playing and witty remarks, did not resonate with audiences.