Little Simz’s sixth album, Lotus, is a raw, introspective dive into her psyche, shaped by betrayal and resilience. The fallout from her legal battle with former producer Inflo, who allegedly borrowed £1.7 million and never repaid it, hangs heavy over the record. Without Inflo’s signature polish, Simz teams up with producer Miles Clinton to craft a sound that’s jagged, eclectic, and deeply personal. The album’s 13 tracks shift between rage, vulnerability, and quiet confidence, blending Hip Hop with soul, jazz, and rock influences. It’s not a smooth ride, but it’s a gripping one, revealing an artist wrestling with pain while refusing to be defined by it.
The album opens with “Thief,” a track that crackles with barely contained anger. Heavy bass rumbles beneath sharp, distorted guitar riffs, creating a moody, almost cinematic tension. Simz’s delivery is biting, her voice slicing through the beat as she confronts betrayal head-on. The verses are razor-sharp, but the hook falters, its off-key vocals blunting the track’s edge. Still, the raw energy sets a tone of defiance that carries through much of the album.
“Flood,” featuring Obongjayar and Moonchild Sanelly, leans into a primal, ritualistic vibe. Thunderous drums and tribal chants build a dense, chaotic atmosphere, but Simz’s flow feels detached, unable to harness the beat’s intensity fully. It’s a bold experiment, but it washes over without leaving a lasting mark. In contrast, “Free” is a standout, its acoustic guitar and swelling strings creating a warm, reflective backdrop. Simz’s verses are crisp, her cadence weaving between soft and forceful, while the looped “Free” vocal hook at the end lands like a triumphant exhale. It’s a moment of clarity that showcases her ability to balance vulnerability with strength.
The mood shifts dramatically on “Young,” where Simz channels a playful, almost theatrical energy. The post-punk-inspired bassline and quirky British accent aim for tongue-in-cheek charm, but the execution feels forced, like a skit that doesn’t quite land. Lyrically, she’s still sharp, celebrating her identity, but the track’s odd tone disrupts the album’s flow. Similarly, “Enough” tries for a danceable, upbeat groove with a funky bassline, but Yukimi’s heavily processed vocals in the final minute feel jarring, undermining an otherwise solid effort.
Where Lotus shines brightest is in its quieter, more introspective moments. “Hollow” is a haunting spoken-word piece, backed by delicate strings and harps that evoke a sense of fragility. Simz’s words are heavy with disappointment, reflecting on the music industry’s toll. It’s not a traditional rap track, and some might wish for a stronger flow, but its stark honesty cuts deep. “Lonely” is even more affecting, its sparse piano and muted percussion amplifying Simz’s raw vulnerability. She lays bare her struggles with isolation and self-doubt, her voice trembling with emotion. It’s a gut-punch, capturing the cost of her resilience.
The title track, “Lotus,” is the album’s centerpiece, a six-minute epic featuring Michael Kiwanuka and Yussef Dayes. It opens with Kiwanuka’s soulful croon, his voice a soothing counterpoint to Simz’s fierce, rapid-fire verses. The instrumental builds slowly, layering Rhodes piano, distant strings, and frenetic drum fills into a hypnotic crescendo. Simz’s lyrics grapple with pain and rebirth. The track feels like a lotus blooming through mud, its gradual unfurling both powerful and restrained. Kiwanuka’s understated delivery and Dayes’ dynamic drumming elevate it into one of Simz’s most commanding performances.
“Blood,” featuring Wretch 32 and Cashh, is another highlight, its somber pianos and punchy drums framing a heartfelt meditation on family and trauma. Simz and Wretch 32 trade verses with a chemistry that feels like a late-night conversation, their voices heavy with lived experience. Cashh’s hook is serviceable but forgettable, unable to match the intensity of the verses. Still, the track’s emotional weight makes it a standout.
The album closes with “Blue,” featuring Sampha, a track that feels like sinking into a warm, melancholic haze. Built on an acoustic guitar background, it’s intimate and fractured, with Simz unpacking depression and detachment. Her voice is weary but resolute, and Sampha’s ethereal vocals add a layer of aching beauty. As the bassline warps and the reverb thickens, the track mirrors Simz’s emotional descent, ending in a silence that feels earned.
Structurally, Lotus is uneven, its shifts between high-energy bangers and subdued reflections sometimes jarring. Tracks like “Young” feel like detours, disrupting the album’s emotional arc. Yet Simz’s lyrical prowess holds it together. Her verses are consistently sharp, weaving personal pain with universal themes of resilience and self-discovery. The production, while not as cohesive as her Inflo-helmed albums like Sometimes I Might Be Introvert, is adventurous, flirting with rock, jazz, and soul in ways that keep you guessing.
The absence of Inflo is felt—his lush, orchestral touch defined Simz’s earlier work—but Miles Clinton brings a grittier, more experimental edge. The result is an album that feels less polished but more human, as if Simz is rebuilding herself in real time. Her voice carries the weight of someone who’s been through the fire and emerged stronger, even if the scars still sting.
Lotus is a complex, imperfect record that demands patience. Its highs—“Lotus,” “Free,” “Lonely,” “Blue”—are among Simz’s best, brimming with emotional depth and sonic ambition. Its lows, like “Young” and “Enough,” don’t always land, but they reflect an artist unafraid to take risks. The album’s mood swings mirror Simz’s own journey, from rage to redemption, and while it lacks the seamless grandeur of Sometimes I Might Be Introvert, it’s a powerful statement of survival.
Lotus may not be an instant classic like Sometimes I Might Be Introvert, but it’s another gem in the crown of one of the most exciting artists active in Hip Hop today.
8/10
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photo credit Thibaut Grevet