Simz took the Royal Festival Hall stage at the 2023 BAFTA Awards on Sunday, February 19, in London to perform “Heart On Fire” from No Thank You. As a bonus, she brought out Joan Armatrading to add some extra spice on the guitar.
“My heart’s on fire / I bought the dream with every penny that I acquired,” Simz rapped with a melodic, unwavering delivery. “It’s a set up and you’ll be next to those prior / The devil works hard, but the business works harder / I vowed from now to work smarter.”
The chorus hammers home the song’s poignant theme of a double-edged sword: “My life is a blessing / But it comes with the stresses / And I can’t take it all / Just don’t let me down when I’m in the fire.”
On a related note, Simz postponed a string of US tour dates last April due to “mental stress” and an inevitable “huge deficit” she’d be left in after self-financing a tour as an independent artist. All the more reason to soak up every Simz performance, including an appearance on The Late Show With Stephen Colbert tonight, February 20.
Watch Simz’s “Heart On Fire” performance from the 2023 BAFTAs above.
Little Simz dropped what might just be the last great album of 2022 in No Thank You. Released seemingly by surprise on December 12, the 10-track album was produced entirely by Inflo. It sees Simz grappling with her mounting fame, pitted against society’s greater ills in the process. Now she’s put out a stirring short film to accompany the album.
Directed by Gabriel Moses and filmed just outside of Paris, it opens with her rapping “X,” the pivotal midpoint track to No Thank You. The visual looks like Simz is delivering a sermon. Images of afro-imperialism are interspersed and she delivers punishing verses like: “This is post-apocalyptic where we stand. You wanna give us the Bible and have us give up the land. They will dangle the carrot when nothin’ is in your hand. And tell you never to worry, ‘it’s all just part of the plan.’”
The video morphs into an interpretive dance number set to “Silhouette,” before “Sideways” kicks in and Simz extols her empowered self, rapping, “They say Black don’t crack. My complexion is iridescent.” The film shifts into the track “Broken,” set to powerful images of child soldier depictions, moments of death, and a feeling of running away from a haunting past. Still, Simz looks deeper within herself, and a particular stanza stands out:
“Look how far you’ve come and see you’ve only just started
You exist, you alive, you are deservin’ of life
You are a beacon of light, you are determined to fly
You have a journal inside, you have the power to write”
“Heart On Fire” closes the moving film and it’s the most literal visual depiction of her facing her recent fame. She’s the belle of a ball, being honored, but feeling inherent guilt. She’s clearly grappling with feeling like she deserves accolades like the Mercury Music Prize, and her willingness to lay out that struggle on No Thank You and no in the short film, is exactly why she’s becoming one of the modern greats.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.
Whenever British rapper Little Simz felt like dropping the follow-up to her critical and commercial breakthrough, Sometimes I Might Be Introvert, she would have had the world’s attention with every pre-album single and Instagram snippet teasing new music. Instead, she went the surprise release route, sneaking up on the music world with the thrilling NO THANK YOU, which sounds vital and fresh on the heels of Simz’s big breakthrough – a real-time reflection of an artist coming to terms with just how popular they are.
Sometimes I Might Be Introvert, which took home the Mercury Prize on October 18, introduced the wider rap world to the MC born Simbiatu Ajikawo in 1994. That the album exists at all is a bit of a miracle in Simz’s mind. During her acceptance speech, she said, “There was times in the studio I didn’t know if I was gonna finish this record, I was going through all the emotions.” Alongside producer Inflo – celebrated for his work in Sault, among other efforts – Simz pushed that record over the finish line and into the arms of an adoring audience obsessed with her vulnerable, honest examinations of life in the spotlight, and the unending quest to line up ones desires with a life of authenticity. On NO THANK YOU, it’s unclear if she’s squared the image of who she wants to be with the one she presents on record, but she’s more comfortable than ever expressing her discomfort and joys – the highs, lows, and crushing mids of life in the public eye.
A lot of what you need to know about NO THANK YOU goes down in the mesmerizing, down-tempo leaning minimalist headbanger of an opener, “Angel.” Inflo once again handles production, crafting crisp drums and hollowed-out synths that do their best to stay out of Simz’s way. She raps, “I can see how an artist can get tainted, frustrated / They don’t care if your mental is on the brink of somethin’ dark / As long as you’re cuttin’ somebody’s payslip / And sendin’ their kids to private school in a spaceship.” On a purely technical level, Simz is at her sharpest on the project. The quick internal rhyme of “tainted” and “frustrated” emphasizes the claustrophobia she feels as fans, label heads, and everyone in between pesters her to keep churning out music. She then expands the bar outwards, cleverly juxtaposing her career with those that profit off her. It’s worth remembering that it was only earlier this year that Simz postponed a North American tour because it didn’t make sense financially.
But what makes Simz one of the most exciting and daring artists in the rap game is that empathy is one of the chief motivating factors in her songwriting. Take the way she talks about label bosses on “Angel” and juxtapose it with her thoughts on “Broken.” Over a looped melodic sample and hi-hats that hint at chaos but never introduce it, Simz raps, “There’s a reason why the doves will never fly with the crows / Chapters eventually close, your friends will turn into foes / Everybody’s so obsessed with the CEO / She probably got the most troubles that she’ll never disclose.” Simz’ ability to not only show differing perspectives but imbue them with equal urgency is a talent that makes her stand apart from virtually anyone else in the game.
On both Sometimes I Might Be Introvert and NO THANK YOU, Little Simz surfs between joy and pain, trauma and triumph, isolation and community. On the former, she posited these feelings we perceive as negative as a bad thing to qualify. On NO THANK YOU, she owns each moment she encounters, finding positivity when she can, and refusing to apologize when she’s left needing more.
Sure, you’ve been doom-scrolling through your share of year-end Best Albums lists, but there are some deep cuts out there that might not be getting the shine they deserve. While we stand by the diverse offering of the year’s best on Uproxx’s Best Albums of 2022’s round-up, these picks represent the ones you may have missed. From post-punk and global sounds to West Coast hip-hop and IDM, check out the best albums of 2022 that you might have missed below.
Khruangbin and Vieux Farka Touré – Ali
Much like how Khruangbin’s Texas Sun/Moon collaboration with Leon Bridges wonderfully melds together each artist’s sound while aiming for the essence of Texas, Ali is a sonic journey into West Africa with Vieux Farka Touré. The son of the great Malian desert blues guitarist Ali Farka Touré, Vieux joins forces with Khruangbin to honor his late father on the album. The Texan trio elevates Touré as a vocalist and guitarist, and together they tap in deeply to the spirit of West African blues and folk. One that can finally be felt in widespread fashion well outside of the continent.
Greentea Peng – Greenzone 108
The British rapper’s latest mixtape sees her spitting metaphysical rhymes over jazzy psychedelic soul beats and dancehall riddims. “Stuck In The Middle” showcases her sly wordsmithery over a groovy twang, while “Your Mind” lays down lush strings and funky horns for Peng to flow over with impeccable cadence: “I see you still, cower at your power. I see you still, doubt the world is ours / But I’m here to shower you, with messages from higher you, in spite of you, inside of you, there’s light in you, and fight in you.”
Widowspeak – The Jacket
On their sixth album, Brooklyn’s Widowspeak have found their highest form. Straddling shoegaze and cowboy pop, The Jacket is a calming, extremely pleasant, and flat-out gorgeous display from a band that’s aging gently and gracefully. Through standout tracks like the kaleidoscopic “While You Wait,” the balmy “Everything Is Simple” and the brilliantly arranged “The Drive,” singer Molly Hamilton’s vocals are a salve throughout one of the best evening companion albums of the year.
Ela Minus & DJ Python – Corazón
Before the arresting dance music pulse of Ela Minus’ breakthrough 2020 album, Acts Of Rebellion, the 2017 Adapt EP was a more playful, vocal IDM essay on synth mastery from the Colombian artist. Corazón harkens back to that early release through the earthy tonalities of New York-based producer DJ Python. As its title suggests, Corazón is a collection of love songs — only three of them to be exact — that leave a lasting feeling of sweet longing, tinged with palpable hope and nostalgia for sweet moments of romance. None do it better than “Pajaros en Verano,” one of the best songs of the year which brims with starry-eyed adoration wrapped in Ela and Python’s warm embrace of synths.
Thee Sacred Souls – Thee Sacred Souls
In the spirit of retro-soul-minded acts like Durand Jones & The Indications and Sharon Jones & The Dap-Kings, the self-titled debut from SoCal’s Thee Sacred Souls is a display of lowrider soul tunes. Singer Josh Lane, drummer Alex Garcia, and bassist Sal Samano channel vintage ’60s soul and ’70s R&B vibes on the twelve-track Daptone Records release. But it’s in their full seven-piece setup where you get transported to a scene right out of that sock hop in Back To The Future, only this time, it’s the full Thee Sacred Souls touring ensemble commanding the stage for [radio DJ voice] alllll the lovers out there.
George Fitzgerald – Stellar Drifting
Domino Records really had their finger on the pulse of melodic IDM this year and George Fitzgerald’s Stellar Drifting was it’s most accessible offering. Breakneck soundscapes bloom everywhere, often making way for lasting vocal collabs like the glorious “Passed Tense” with Panda Bear and the magic carpet ride that is “Rainbow And Dreams” featuring Soak. For the album, Fitzgerald synthesized the literal sound of the cosmos and moments like “Cold” — featuring a pitched-down (and uncredited) Ellie Goulding — are downright interstellar.
Tim Bernardes – Mil Coisas Invisíveis
Brazilian singer-songwriter Tim Bernardes opened for Fleet Foxes on tour this year and recently collaborated with them on the track “A Sky Like I’ve Never Seen.” He even recorded a version of “Baby” with Brazilian legend Gal Costa before she passed this year. His trajectory is certainly on the rise and his solo album, Mil Coisas Invisíveis, is one of the finest modern Brazilian folk albums released in recent memory. Look no further than “BB (Garupa De Moto Amarela)” for a prime example of how Bernardes presents his elegant and poetic Portuguese-language lyricism, alongside bohemian arrangements that feel inspired by the flower child era of the Summer of Love.
Larry June & Jay Worthy – 2 P’z In A Pod
While San Francisco’s Larry June Spaceships On The Blade drew considerable attention this year (including from Uproxx’s Best Albums of 2022), June’s collaboration with Compton rapper Jay Worthy was likewise a standout. 2 P’z In A Pod is nothing short of a titanic West Coast rap release, bringing together two distinct voices from NorCal and SoCal. The record is produced entirely by Sean House and “Leave It Up To Me” doesn’t just show two rappers complementing each other with a distinct symbiosis, it might just be the best track June put out this year. There are even features from a slew of OGs in The Diplomats’ Jim Jones, West Coast rap fixture Suga Free, and then NYC’s Roc Marciano on the cognac-soaked “Leave It Up To Me.”
A.O. Gerber – Meet Me At The Gloaming
There’s a lot more than meets the eye on Los Angeles singer-songwriter A.O. Gerber’s latest album. If meticulously constructed and impassioned tunes like “You Got It Right” and “Walk In The Dark” remind you of Wye Oak, perhaps it’s because Gerber co-produced the album with Wye Oak collaborator Madeline Kenney. Out on the workhorse Father/Daughter Records label, melancholy strings permeate this beautiful album about staying optimistic in difficult emotional standstills. And even experimental jazz saxophonist Sam Gendel pops up at a couple turns, flashing ambitious layouts from Gerber and company that leave you wanting more.
Cola – Deep In View
While Montreal post-punk trio Ought disbanded recently, Cola immediately arose from the ashes. Most importantly, deep-voiced singer Tim Darcy is still at the helm lyrically on an album that easily slotted among the best post-punk releases of the year. Album opener “Blank Curtain” sets the stage with Darcy’s perfectly-paced vocals, sleek riffs, and a devious bass line from Ben Stidworthy. “Water Table” brings back Darcy’s signature callouts of our growing technocratic state, over drums from Ben Cartwright that thump like a tell-tale heart. And for a moment, it feels like Ought never left, they only got better.
Archibald Slim – Worldly Ways
While Archibald Slim is still rubbing elbows with Atlanta’s left-of-center Awful Records crew that he first came up with (including on Father’s “Let’s Kick His Ass!” along with Zack Fox this year), he’s found new life with LA’s P.O.W Recordings after a lengthy hiatus. Now Worldly Ways immediately slots him among the upper crust of the label’s eclectic roster of emerging rappers. The Boldy James comparisons are inescapable as Slim weaves stories with the hard-earned wisdom of a man who’s traversed many roads, but with the South as his recognizable point of origin. And he puts it down on the standout title track over a breezy thump, rapping: “I ain’t proud of some of the things that I had done. But my folks proud I stand my ground and I don’t run unless there’s time on the line.”
It’s been a year of high, lows, and now one final big payoff for Little Simz. After cancelling this year’s US tour in support of her fantastic 2021 album, Sometimes I Might Be Introvert, because of financial concerns, Simz’s album would up winning the 2022 Mercury Music Prize as the top album in the UK. Then just last week, she announced an upcoming follow-up album, No Thank You. Now today, without any singles or build-up, it just came out.
No Thank You was produced by Inflo, who’s been plenty busy himself, producing three tracks on Adele’s 30 and releasing not one, not two, not three, not four, butfive albums at once from his Sault project last month. Mentioning Sault in the same breath as Little Simz makes a lot of sense when you press play on No Thank You, as the first song features Sault’s Cleo Sol, who’s become a right-hand vocalist of sorts for Inflo and also appears on tracks off of Introvert, like “Woman.” Furthermore, the choral, angelic, and cinematic production of No Thank You also feels extremely congruent with what Inflo has been exploring on his most recent Sault drops. It’s hard to listen to all of this music and not feel like it’s all part of a great ecosystem within Inflo’s Forever Living Originals label collective.
You can listen to that opening track, “Angel” above and check out the No Thank You album artwork and tracklist below.
Well, here’s some unexpected but very welcome news. After releasing the triumphant Sometimes I Might Be Introvert just last year, Little Simz has already announced its follow-up, No Thank You. Considered one of the best albums of 2021Sometimes I Might Be Introvert helped earn the UK rapper a Best New Artist award at the 2022 BRIT Awards as well as the Mercury Prize — considered by many to be the highest honor for a British musician. Now, with a new album on the way, Simz’s one-woman British Invasion of the US will likely continue unabated — and that, my friends, is absolutely a good thing.
For one thing, it’ll give Simz a second chance at organizing a US tour. Unfortunately, she canceled the originally planned tour for SIMBI because the financial obligation would leave her worse off. Like many independent artists, Simz relies on touring and merchandise to make the majority of her income and like many of her peers, the continuing pandemic and the changes its forced on the industry, including other pre-existing trends that were exacerbated recently, her out-of-pocket expenses would have been greater than her revenue had she continued with the tour plans. Thankfully, she has a new album on the way, which will only generate more opportunities for her to cross the pond and raise her global profile with No Thank You.
