The new album ‘Lotus’ - the most recent addition to her already impressive body of work - narrates Simz's journey of discovering hope after a conflict with her close collaborator Inflo; in January, Simz filed a lawsuit against the producer for not repaying a £1.7m loan. Imagery of sharks and snakes permeates the tracks, evident in the venomous energy flowing through Simz’s performance of ‘Thief’, which seamlessly transitions into the exhilarating industrial sound of ‘Flood’. “I’m thrilled to share this album with you tonight,” Simz announces. “But first, let’s rewind a bit.” On cue, the strings begin the sentimental ‘Two Worlds Apart’, engaging the audience in an exciting call and response; then, ‘Marijuana’ and ‘Kendrick Lamar’ are belted out with abandon. The performance expertly navigates between light and dark. Uncontainable joy fills the space during the cathartic ‘I Love You, I Hate You’, along with the dynamic duo featuring Obongjayar on ‘Lion’ and ‘Point & Kill’. ‘Free’ and the mesmerizing Latin groove of new track ‘Only’ provide a refreshing lift during the lighter segments, rising above the orchestral enhancements surrounding her. These songs resonate as elegant, airy, and light in the live experience; it’s sheer delight.
While the Queen Elizabeth Hall is typically a seated venue, the nature of a Simz concert challenges that expectation. After an intense performance of ‘Venom’ - which begins with Simz in the conductor’s box - a wave of audience members starts to return to their seats. “Why are you sitting down?” she jokes, shaking her head as the upbeat vibes of the fun track ‘Young’ ignite. “Na na na, you can’t do that.” Simz has a talent for interacting with her audience, effortlessly shifting between humor and heartfelt sincerity. “This song makes me uneasy,” she says before the gentle ‘Lonely’. “Like reading a letter in front of the person it’s aimed at - but I trust you all,” she adds. It becomes clear that much of Simz’s work is crafted for this grand stage; there’s always a hint of theatrics, as seen in the interplay of ‘Blood’. Wretch 32 emerges from the side of the amphitheater, and they enact a phone conversation between siblings. They end up back-to-back at center stage, as Cashh sings the hook and captivates the audience with a wave of arms.
Given the shadows cast by the new material, which is filled with themes of lost confidence, pain, and betrayal, it’s truly wonderful to witness Simz reclaim what is rightfully hers. The performance concludes with the heartfelt lullaby ‘Selfish’, the anthemic ‘Woman’, and a powerful rendition of ‘Gorilla’ - a trio of excellence. The latter stirs up excitement, and by referencing one of her earliest lines written at age 11 - “Sim, simmer, who’s got the keys…” - it signifies a complete circle moment. Each thread ties back to the beginning of her journey, seeing her return to the city she has triumphed over, and finding her rightful place at the top. It's a mesmerizing comeback.
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Simz displays heartfelt vulnerability in this impressive performance in her hometown.