Little Simz Lotus: May 9th
- Thread starter Mastamimd
- Start date
I'm halfway through and pretty bored. Maybe it will benefit from a second listen but I had read articles saying this was a new musical direction. And while it is to some extent i'm just finding it all a bit low energy. Young was like a shyt The Streets rip off. Hoping the second half is better.
steadyrighteous
Veteran
Lotus is the sixth studio album from UK rapper Little Simz. Growing up in Islington alongside figures like Leona Lewis, Letitia Wright, and Inflo, a career in entertainment felt almost destined, regardless of the medium she chose.Her first medium was acting—starring in the BBC series Spirit Warriors in 2010, famously appearing in Top Boy from series 3 through the finale in 2023, and most recently starring alongside Cillian Murphy in the 2025 classroom drama Steve.But the medium that truly captured her passion was music. While starring on Spirit Warriors, she released her first mixtape Stratosphere, marking the realization of a lifelong dream and boosting her international profile. Her debut album A Curious Tale of Trials + Persons led to opening slots for artists like Future, Nas, and Ms. Lauryn Hill. In 2015, Kendrick Lamar famously called her “the illest doing it right now”—high praise coming right after he dropped To Pimp a Butterfly, one of the decade's defining albums. That should have put everyone on notice.I wasn't one of those people early on. Call me late to the party—I didn't form a real opinion on Little Simz until 2021. I'd heard the hype from outlets like Pitchfork and The Needle Drop, especially around Grey Area in 2019, but I finally tuned in with Sometimes I Might Be Introvert and was blown away. The Mercury Prize and MOBO Awards agreed, crowning it Album of the Year.One more album and an EP later, Little Simz announced Lotus for May 2025 (later delayed to June). This cycle, though, was her most painful. In March 2025, news broke that she was suing her longtime collaborator and former label head, Inflo, over owed money. The fallout was total: she left his label Forever Living Originals, ended collaborations with Sault (Inflo’s project), and brought in Miles Clinton James to produce the album.As devastating as it was to watch unfold—especially in an already tough year—the idea of a Little Simz project without Inflo sparked curiosity. I'd always admired his work with Michael Kiwanuka, Adele, Tyler, The Creator, and especially Cleo Sol, and I mostly loved what he brought to Sometimes I Might Be Introvert and NO THANK YOU. Still, I'd wondered what she'd sound like outside his influence. In an interview with Michaela Coel, Simz reflected on the betrayal while embracing the chance to collaborate anew:shyt really almost gave me a serious breakdown. I’ve never not believed in myself or my ability to write, even when I’ve had blocks. I know it’s a block. It doesn’t mean I’ve lost my whole shyt. This time around, I was seriously considering that maybe it’s time to just—I’ve had a good run, you know? I can maybe dip into other things, because I’m not feeling it and I don’t know how I’m going to get it back. Even going in to work with who I worked with, I had to show them, “Don’t have any expectations. This music might be extremely bad. I’m just letting you know from the jump.” But they were all so super.
13 tracks clocking in at around 50 minutes, Lotus dropped on June 6, 2025. After the lawsuit drama, I approached it as fresh as possible—skipping singles like “Flood,” “Free,” and “Young” until a full, focused listen a few days into summer. From the opening bars, I was hooked, sometimes struggling to pull myself away for other albums. While it didn't receive quite the universal praise of her prior releases, many listeners still embraced it as a powerful, personal triumph.Prepare your mulch, plant your seeds, grab your watering cans, and let’s hear some flowers grow.ReviewThiefBefore getting into the details, credit to Miles Clinton James—he was one heavy drumkit away from a full-on nu-metal vibe. The guitars are funky, the bass grounds everything in groove, and Little Simz delivers her angriest performance yet, with lyrics aimed squarely at Inflo.She's always been direct, but never this pointed. The track opens with her anxiety around his birthday, wishing for Pisces season to escape the toxicity. She calls him a cult leader with a god complex, a leech who kept her on eggshells, even offering condolences to Cleo Sol for still being married to him. Brutal.The lawsuit details stay vague on the full betrayal, but she channels whatever happened into a triumphant (if tough-to-hear) opener. Here's hoping she never needs to go this hard again.FloodThis feels like the emotional extension of “Thief.” Simz is still working through the pain, now directing some anger at the broader music industry, with affirmation from guests. Obongjayar shepherds the hook like a bard, while Moonchild Sanelly adds light Xhosa rapping in the bridge, brushing off doubters.As I walk this wicked ground, keep me away from the Devil’s palm. I am the light.
The standout is her self-assurance in the final verse, sharing hard-earned wisdom so others avoid her mistakes.YoungAfter “Thief” flirting with nu-metal and “Flood” touching prog rock—reminders that Simz ignores hip-hop trends when her flow and vision suffice—“Young” dives into straight punk (with nods to The Streets). In lesser hands, it might feel like a gimmick and derail the album. But Simz sells it with spirited energy that still makes me laugh months later, plus tributes to Amy Winehouse that ground it.OnlyBossa nova? Simz turns on the charm over Miles Clinton James' lush soundscape—his first true shine here. Kick drums whisper but land, piano licks are delicious, bass steady as the affection she expresses. She's always excelled at love songs; this one makes you want to dance till sunrise, with a cute “Get Money” interpolation and Lydia Kitto from Jungle on the hook. Another highlight.FreeSimz delves deeper into self-doubt later, but “Free” marks her first stand against it with resolve and spirituality. It's the album's initial meditative breather, even as drums slice through. A lyric echoes her Coel interview on embracing “imperfect” music that still resonates.If beauty is in the eye of the beholder, then why are we obsessed with seeking perfection?
Shoutout to the slick beat switch in the last minute and Alexander Bonfanti's bass.PeaceThis is peak meditation—no full drums, spotlight on Simz's performance and lyrics. Broader on the surface (like Nas or Kendrick), but digging in reveals her entertainment come-up and survivor’s guilt amid global chaos. DJ Dahi contributes production; Moses Sumney croons beautifully, Miraa May anchors with “I’ve got to find some peace of mind” until her own verse closes it. More rewarding with every listen.HollowBy now, Lotus has covered anger, wisdom, and affection. “Hollow” brings the first wave of sadness, paired with the album's most dexterous rapping—supreme control over plainspoken flow. Easy to connect with her passion while admiring the skill.It dips into self-pity over the Inflo fallout and need to move on, then rises in acceptance. Almost like she's embodying the lotus itself.LionThe start of a funky one-two punch. Guitar lick kicks it off, then Simz and Obongjayar feed off each other. When she raps “understand I’m Lauryn in her prime when you see me,” it feels earned. Their best collab yet—pure fun.EnoughTime to praise the session players and features. Morgan Simpson (ex-black midi) brings chaotic drums; Miles Clinton James gets eclectic again. Groovy 70s-funk bass, wonky production—Simz is in sync, having a blast. Yukimi's maple-syrup vocals seal it.BloodAfter two high-energy funk tracks, “Blood” slows for a somber sibling tale. Hip-hop theater like Kendrick's “We Cry Together,” but this is my favorite on the album.Wretch 32 plays a touring rapper seeking solace from a sister tired of his absence. Projection, resentment, petty fights, eventual truth. Family is everything—messy, lacking communication, shared trauma, but always there. Cashh narrates the thesis; piercing when Wretch admits he called needing a friend.LotusPoetry in the title track being the longest. More in Michael Kiwanuka (Inflo colleague) on the hook supporting her. Yussef Dayes' over-two-minute drum solo at the end? Just fire.It could feel redundant after 10 tracks nailing the mission, but the second verse unleashes anger—media takes, lifelong public eye—and the brief third reminds her to keep going.
Sometimes redundancy serves.LonelyFirst listen on a train to my father's grave left me misty. Simz's melancholy over regaining resolve to finish the album hits hard. Despondent tone, simple production (strings as accents, Sampha cameo)—the saddest track.She laments how rough it was when everything felt like it was crumbling, even contemplating retirement despite being one of the best. A grim reminder of how close it came to going sideways.BlueThe coda to “Lonely,” like “Flood” to “Thief.” Reflecting on grief, reconciling celebrity responsibility (echoing “Lotus”). Rhetorical questions and calls to God recur—sometimes necessary. Her flow and Sampha's hook make it rewarding.It wraps with a bow but feels unfinished—like acceptance that more challenges await. That acceptance ties the album: prioritizing growth over lingering anger. Sampha's closing line: “nowhere near we used to be.”ConclusionIt's bold for Little Simz to compare herself to Ms. Lauryn Hill in her prime on “Lion,” but there's a case that Lotus echoes The Miseducation of Lauryn Hill as a second coming. The pains differ, but the responses align.Grief and anger fueled her until love and self-forgiveness guided the way. She voices betrayal and eroded trust, then celebrates the musicians and engineers who helped her finish. Tragic circumstances birthed it, but Lotus proves she's essential to hip-hop—capable of greatness without Inflo. Wherever she heads next, I hope she looks back on this period with pride, knowing her fans are proud of her persistence and triumph.
13 tracks clocking in at around 50 minutes, Lotus dropped on June 6, 2025. After the lawsuit drama, I approached it as fresh as possible—skipping singles like “Flood,” “Free,” and “Young” until a full, focused listen a few days into summer. From the opening bars, I was hooked, sometimes struggling to pull myself away for other albums. While it didn't receive quite the universal praise of her prior releases, many listeners still embraced it as a powerful, personal triumph.Prepare your mulch, plant your seeds, grab your watering cans, and let’s hear some flowers grow.ReviewThiefBefore getting into the details, credit to Miles Clinton James—he was one heavy drumkit away from a full-on nu-metal vibe. The guitars are funky, the bass grounds everything in groove, and Little Simz delivers her angriest performance yet, with lyrics aimed squarely at Inflo.She's always been direct, but never this pointed. The track opens with her anxiety around his birthday, wishing for Pisces season to escape the toxicity. She calls him a cult leader with a god complex, a leech who kept her on eggshells, even offering condolences to Cleo Sol for still being married to him. Brutal.The lawsuit details stay vague on the full betrayal, but she channels whatever happened into a triumphant (if tough-to-hear) opener. Here's hoping she never needs to go this hard again.FloodThis feels like the emotional extension of “Thief.” Simz is still working through the pain, now directing some anger at the broader music industry, with affirmation from guests. Obongjayar shepherds the hook like a bard, while Moonchild Sanelly adds light Xhosa rapping in the bridge, brushing off doubters.As I walk this wicked ground, keep me away from the Devil’s palm. I am the light.
The standout is her self-assurance in the final verse, sharing hard-earned wisdom so others avoid her mistakes.YoungAfter “Thief” flirting with nu-metal and “Flood” touching prog rock—reminders that Simz ignores hip-hop trends when her flow and vision suffice—“Young” dives into straight punk (with nods to The Streets). In lesser hands, it might feel like a gimmick and derail the album. But Simz sells it with spirited energy that still makes me laugh months later, plus tributes to Amy Winehouse that ground it.OnlyBossa nova? Simz turns on the charm over Miles Clinton James' lush soundscape—his first true shine here. Kick drums whisper but land, piano licks are delicious, bass steady as the affection she expresses. She's always excelled at love songs; this one makes you want to dance till sunrise, with a cute “Get Money” interpolation and Lydia Kitto from Jungle on the hook. Another highlight.FreeSimz delves deeper into self-doubt later, but “Free” marks her first stand against it with resolve and spirituality. It's the album's initial meditative breather, even as drums slice through. A lyric echoes her Coel interview on embracing “imperfect” music that still resonates.If beauty is in the eye of the beholder, then why are we obsessed with seeking perfection?
Shoutout to the slick beat switch in the last minute and Alexander Bonfanti's bass.PeaceThis is peak meditation—no full drums, spotlight on Simz's performance and lyrics. Broader on the surface (like Nas or Kendrick), but digging in reveals her entertainment come-up and survivor’s guilt amid global chaos. DJ Dahi contributes production; Moses Sumney croons beautifully, Miraa May anchors with “I’ve got to find some peace of mind” until her own verse closes it. More rewarding with every listen.HollowBy now, Lotus has covered anger, wisdom, and affection. “Hollow” brings the first wave of sadness, paired with the album's most dexterous rapping—supreme control over plainspoken flow. Easy to connect with her passion while admiring the skill.It dips into self-pity over the Inflo fallout and need to move on, then rises in acceptance. Almost like she's embodying the lotus itself.LionThe start of a funky one-two punch. Guitar lick kicks it off, then Simz and Obongjayar feed off each other. When she raps “understand I’m Lauryn in her prime when you see me,” it feels earned. Their best collab yet—pure fun.EnoughTime to praise the session players and features. Morgan Simpson (ex-black midi) brings chaotic drums; Miles Clinton James gets eclectic again. Groovy 70s-funk bass, wonky production—Simz is in sync, having a blast. Yukimi's maple-syrup vocals seal it.BloodAfter two high-energy funk tracks, “Blood” slows for a somber sibling tale. Hip-hop theater like Kendrick's “We Cry Together,” but this is my favorite on the album.Wretch 32 plays a touring rapper seeking solace from a sister tired of his absence. Projection, resentment, petty fights, eventual truth. Family is everything—messy, lacking communication, shared trauma, but always there. Cashh narrates the thesis; piercing when Wretch admits he called needing a friend.LotusPoetry in the title track being the longest. More in Michael Kiwanuka (Inflo colleague) on the hook supporting her. Yussef Dayes' over-two-minute drum solo at the end? Just fire.It could feel redundant after 10 tracks nailing the mission, but the second verse unleashes anger—media takes, lifelong public eye—and the brief third reminds her to keep going.
Sometimes redundancy serves.LonelyFirst listen on a train to my father's grave left me misty. Simz's melancholy over regaining resolve to finish the album hits hard. Despondent tone, simple production (strings as accents, Sampha cameo)—the saddest track.She laments how rough it was when everything felt like it was crumbling, even contemplating retirement despite being one of the best. A grim reminder of how close it came to going sideways.BlueThe coda to “Lonely,” like “Flood” to “Thief.” Reflecting on grief, reconciling celebrity responsibility (echoing “Lotus”). Rhetorical questions and calls to God recur—sometimes necessary. Her flow and Sampha's hook make it rewarding.It wraps with a bow but feels unfinished—like acceptance that more challenges await. That acceptance ties the album: prioritizing growth over lingering anger. Sampha's closing line: “nowhere near we used to be.”ConclusionIt's bold for Little Simz to compare herself to Ms. Lauryn Hill in her prime on “Lion,” but there's a case that Lotus echoes The Miseducation of Lauryn Hill as a second coming. The pains differ, but the responses align.Grief and anger fueled her until love and self-forgiveness guided the way. She voices betrayal and eroded trust, then celebrates the musicians and engineers who helped her finish. Tragic circumstances birthed it, but Lotus proves she's essential to hip-hop—capable of greatness without Inflo. Wherever she heads next, I hope she looks back on this period with pride, knowing her fans are proud of her persistence and triumph.
