Little Simz Explores Themes of Love, Betrayal and Self-doubt On New Album 'Lotus'

Photo credit: Thibaut Grevet

Little Simz releases the deeply personal Lotus, her most bare, honest and frankly vulnerable body of work as she spins an expansive world that takes a life of its own on her sixth studio album.

Even though we live in Simz’s internal, there is a delightful world that we orbit, and then descend to which is further proof that she is one of the UK’s greatest creative artists, and arguably in the world currently.

Boundaries are broken down, and bypassed as the album only consists of 13-tracks but covers a wide range of musical styles and expressions through collaborators; Moses Sumney, Miraa May,  Wretch 32,  Cashh, Michael Kiwanuka,  Yussef Dayes,  Sampha,  Lydia Kitto, Yukimi Nagano, Obongjayar and Moonchild Sanelly.

Released via AWAL Recordings, and produced by Miles Clinton James, the 31-year-old is authentically herself, more comfortable, and sure as she experiments with thoughts and sounds, delivering lyrics in various ways, manipulating her voice to adopt satirical characteristics that are so British and familiar. Versions of herself that equally exist. She’s simply having fun.

We meet Little Simz, where she’s currently at, as a woman, and as an artist on the opening track of Lotus, ‘Thief’, is a low bass pedalled and sober reckoning of cold aggression as Simz speaks on betrayal, and examines how it’s got to this point.

‘Flood’ follows as the second track of the album. Beginning with Obongjayar’s distinct drawl, he is quickly interrupted by Simz’s raspy voice, “How dare you?” injecting herself hauntingly over the raw drum pattern that buzzes with resistance and defiance, and also cautionary advice on how to navigate life. Moonchild Shelly also features on the track.

Whilst ‘Young’, feels more fun, and a bit more light-hearted. Rapping over a punk inspired track, the North Londoner is playful, even satirical making references to British culture as she styles in rhythm, “Who’s that over there giving it the biggen / sorry officer I don’t want to go to prison / I know that I was taught  but I probably didn’t listen / but taught myself to fire  when I needed ammunition.”

Soft percussion and piano keys signal a different section as we move into ‘Only’ featuring Lydia Kitto. Jazz influenced, Simz is relaxed, charismatic and smooth as she flows over the beat, exploring love and gentle intimacy. Taking time to pay attention to the small things, as well as the grand gestures, whilst Lydia’s delicate tone is angelic, lifting the track higher.

However, ‘Free’ is a philosophical take on love. Simz returns curiously to the many meanings of love and the form it takes over violin strings and warm acoustic guitar, which helps to fill up the space in the instrumental.

Moses Sumney and Miraa May join Simz on ‘Peace’, which was written as a love letter and homage to a younger Simbi, retracing her journey and her growth - but also the life lessons she’s learnt and reflections on the world. She remarks, “She was sixteen trekking through the rain just to build/to now whipping beamers out of town through the hills.”

On the dreamlike and melodic ‘Hollow’, the Tottenham rapper’s cadence is clean but allows space for the words to be felt as we follow her train of thought as she addresses the falseness of a trusted friend and accepts that she doesn’t have to forgive to move on.

Collaborating for the second time on this project, Obongjayar joins up with Simz on ‘Lion’. energetic with Afro-Jazz inflexions that sporadically sprout up, Simz swaggers and strutters, showcasing her ability.

Upping the pace on ‘Enough’, Simz continues the flex alongside Yukimi before a sibling conversation takes place on ‘Blood’. Two north Londoners, Simz and Wretch 32, converse between themselves, acknowledging the distance, and attempt to fill each other in on what they’ve missed.

They point out where the other falls short, their insecurities and holding space for each other in their fears, whilst Cashh delivers a melodic dancehall-influenced chorus.

Title track ‘Lotus’ is 6 minutes long, and is exquisitely put together with the help of Yussef Dayes and the fullness of Michael Kiwanuka’s vocals.

Simz is thoughtful and pensive, reflecting on attitudes towards mental health, tough beginnings, the state of the world and the pressures to speak out.

Coming to a close, ‘Lonely’ engages with her loneliness, and how Simz experienced creative struggles when piecing the fragments of what this project now is, how unexpected change knocked her off course and how she endured in the bid to steady the ship.

There are breaks in the tracks, where she softens, singing with an aching delicateness that stirs something deep before she moves into a rap verse, “I was lonely making an album, I ran into mad blocks/ tryna find that girl/everybody’s a fan of.”

Deciding to strike a note as she ends with ‘Blue’, the wailing of Sampha carries itself into the final song from ‘Lonely’.

Emotive piano chords interwoven with guitar riffs build the base of the track. Expanding the frame, Simz provides thoughtful commentary about life’s problems, the everyday that people can relate to, directing it at the audience – she closes the distance prompting them with questions about identity, and what does it mean in isolation, whilst also “What is the cause that you are dying for?”, establishing the fact that Simz will also position herself as a musician for us, rather than them.

Starting from June 12th to the 22nd, Southbank’s contemporary music festival, Meltdown will be running. This year the show is curated by Little Simz, who has a line-up that includes The Streets,  Sasha Keable, Lola Young,  Ghetts and  Jon Batiste.

Little Simz is also scheduled to perform two UK headline arena dates. One, at Manchester’s Co-Op Live on October 16th and the second at London’s The O2 on October 17th.

Listen here