I was made aware of Little Simz after the release of her 2019 album Grey Area. The London native rapper established her dominance and lyrical stature with track after track packed full of aggressive, hard-hitting bars over refined beats. Only a few minor tweaks away from being perfect, Grey Area was a fantastic introduction to Little Simz’ sound and style. Her most recent album, Sometimes I Might Be Introvert, is in many ways diametrically opposed to the aesthetic of Grey Area, this time employing rich instrumentation and introspective lyricism with almost twice as long of a runtime. All of these changes, however, allow Simbi to explore new genres and prove just her versatile and talented she really is. With apparently only a single sample on the entire project, Sometimes I Might Be Introvert is inventive, masterfully written, and diverse in its construction, leaving no stone unturned by an artist whose introversion manifests in a flawless project.
After learning that this project’s tracklist was a lengthy one hour and five minutes spread over nineteen songs, I grew weary that this project would be bloated and unrefined like many rap albums have become in the streaming era. To my surprise, though, this runtime is precisely how long Simbi needs to explore the many intricate themes discussed here - no more, no less necessary. The project never becomes stale, either, with each track transitioning logically and naturally into the next, oftentimes carrying thematic elements over gracefully to keep the listener engaged at all times. “Introvert” is a grandiose, epic opener, and only two tracks later, “Two Worlds Apart”’s minimal, bass-heavy instrumental sets the perfect backdrop for Simz to deliver complex rhymes schemes. The soul-sample-inspired aesthetics of this project just work for me, and I can’t help to hold on tightly to all aspects of Simbi’s intoxicating wordplay.
The production, sonic elements, and instrumentation for this album were clearly assembled with unrivaled craftsmanship and attention-to-detail that modern hip-hop often lacks. “I Love You, I Hate You” builds slowly but surely, and by its end, Simz has reflected on the challenging relationships in her life, with potent verses two and three that tackle the complicated back-and-forth she has always had with her father, leading to eventual forgiveness - not for him, but for her. “Little Q, Pt. 2” is just as deeply personal, but instead recounting her cousin’s upbringing and unimaginable circumstances from his perspective that would lead most to become resentful or hateful. Instead, Simz grows more empathetic and understanding of those in similar situations to the point that she is able to forgive the boy who once stabbed her. Little Simz’ emotional maturation and intelligence are inspiring.
This album is interesting in part because of its use of interludes, which are actually used correctly and effectively instead of simply for artistic effect and stylization. These spoken-word breaks build the album’s theme just as strongly and efficiently as the tracks do. Simz understands that interludes are best used as turning points in albums, but also as bridges that can connect two thematic and sonic elements together harmoniously.
The middle of the album should give Grey Area fans a taste of what made that project so special, with Simbi dropping banger tracks like “Speed” and “Standing Ovation” that leave no holds barred. Almost every track here sounds like a sample cut or interpolation of a classic hip-hop track, which makes it that much more astounding that this album’s production was almost entirely original. These tracks transition into “The Rapper That Came To Tea - Interlude”, which transitions the listener from more hard-hitting rap songs to the genre-bending styles that Simz has now proven she can also master without wavering in her own element. “Protect My Energy” is not only impressive because it’s a What’s Your Pleasure?-level disco-inspired hit, but because its artist can also excel in complicated rhyme schemes and hip-hop beats as well as she can. “Point and Kill” with Obongjayar is inspired by Nigeria according to Simz, and this authentic African influence can be felt throughout the track just as intended. That same vibe continues into “Fear No Man”, but Simz drops more bars before closing the album out on an introspective high-note.
The album’s penultimate track “How Did You Get Here” is one of the moving songs on the project, as Simz outlines every step that it took to find success in doing what she loves. Themes of perseverance despite doubt and lack of confidence thrive here, as they do throughout the rest of the project. Little Simz rightfully reflects on the uphill challenge she has faced as a Black woman in the rap game but describes how she overcame odds to become the amazing woman she is today. As perfect as this track would have been as a closer, “Miss Understood” yet again one-ups Simz, raising the bar and ending just as beautifully as they started.
Don’t worry, I’m very aware of what I’m doing. After only giving one perfect score last year, you might think my standards are slipping. But as a blogger who frequently reviews music, I find it important to come into albums as unbiased, neutral, and objective as possible while holding a consistent standard for the media I consume. This year has just been that good for music. Promises and now Sometimes I Might Be Introvert are flawless, transcendent, once-in-a-lifetime albums that have come out within months of each other, and they all deserve as much praise and recognition as possible. Little Simz has cemented herself as the best female rapper in the industry with this album, and I cannot wait to see where she is able to go from here.
Favorite tracks: All
SCORE: 10/10
