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Image via Wired PR
In a very short amount of time, 21-year-old UK artist Little Simz has let music listeners know that she is hungry, talented, and here to stay. Whether it be her flawless flow, her sharp, clever lyricism, or her remarkably generous output (10 releases since 2010), Simz creates with the energy and precision of a pro. Today marks the release of her debut album, A Curious Tale of Trials + Persons.
Throughout the album, Simz contemplates how far she’s come (“Wings”) while debating her future (“Dead Body”), the meaning of fame (“The Lights”), and the dicey music business (“Persons”). On songs like “God Bless Mary,” Simz apologizes to her neighbor for loud bedroom recording sessions, and to her mum and nephew for not being around as much due to her busy work schedule. On “Gratitude,” she articulates her struggles and calls out detractors before expressing thankfulness that it’s all worked out.
Though it would have been easy for Simz to use her talent in a way that would more readily appeal to mainstream listeners, she’s instead building a strong, independent foundation for the music she really wants to make—music that goes deeper and defies industry expectations for young artists. And though she raps “Who give a fucks about cosigns?” on “Wings,” she’s already received genuine accolades from Kendrick Lamar, Yasiin Bey, and A$AP Rocky.
Coming off an incredible year for Little Simz, one that included the aforementioned shout-outs, four EPs, touring the world, and an art exhibition to celebrate the album release, we spoke to her about what it took to get to this point in her career. Buy A Curious Tale of Trials + Persons, which is out today via Simz’s own Age 101 Music.
Being from a generation that’s the first to collect both physical and digital music, what are some of your earliest memories discovering artists?
I remember buying early Missy Elliott CDs, and besides hip-hop, reggae albums like Bob Marley. What drew me to their songs was definitely the message. Even though I couldn’t comprehend all that they were saying, I knew there was positivity in it. It just connected with me on a different level.
I remember I had a party at my house, and that whole day I had been upstairs listening to a Bob Marley album. All of the kids downstairs were listening to pop songs or something. I put on Bob Marley’s album, and they all looked at me like, “What the fuck? What is she doing?” I was around 10 or 11 then, but from an early age, I’ve always been at a level where I know good music when I hear it.
When you were younger, you also did dancing and acting. What was the turning point when you decided to focus on rapping and music in general?
When I was 14, I asked myself, “When are you gonna take this music thing seriously?” At the time I was still dancing and acting, and even if I enjoyed doing both, I knew they were temporary. They just didn’t compare to my passion for music and the feeling I got from it.
When did you get started on your album?
I started recording my album in February 2015. I had ideas, but I didn’t actually get into the studio until then. We knocked it out in a month. Then I went back to the studio in June after touring and just tweaked the foundations so it’d sound good and finalized. We mastered it in July. It was very straightforward but also a sick process recording it at Red Bull Studios in London.
The album begins with the line “A tale of gain and loss” followed by “Women can be kings.” Why was that message important for you to have at the start of the album?
Opening the album with a statement like “Women can be kings” is mad powerful. It came from a feminist perspective—me standing my ground and saying, “Look, do not pre-judge me, make assumptions, or create preconceived ideas of what you think this album is gonna be like.” Just listen, and it will all make sense in the end.
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Image via Wired PR
On the song “God Bless Mary” you say, “Know I’m not perfect, but I promise it’ll be worth it.” Are you talking to people within your own life and asking them to come on this journey with you, too?
Yeah definitely, that’s spot on. Even if I’m just talking to my neighbor and having a conversation with her, it reaches a further place, reaches other people, and relates to other situations I’m writing about.
Why did you decide to also focus the lyrics on fame and your experiences in the music industry in particular?
I’m just aware that it’s the direction my life is headed in. I have always been very honest in my music—very open about how I feel, how I think, what’s in my mind, and what’s in my heart. It’s not coming from a place of anger; I’m just asking hella questions. I don’t understand a lot, because I’m 21, and I’m still growing. I know a lot, but I also don’t know a lot. I’m being honest with myself and admitting that to myself. I’m asking myself how I’m gonna deal with the pressures of the music industry.
It’s not always an easy thing to let people step into your world. So many people know things about me now, whether because I’ve been talking about my mom or my dad, whatever it is. I am very vulnerable when it comes to that stuff, but this is my only option, and it seems to be working.
Why did you decide to do an art exhibition for the album, and have 10 art students from the University of the Arts London interpret the songs?
I just thought it was a cool idea. I could’ve done anything, but why not do something a little more fun, and creative, and have university students be a part of it? I’m big on education, even though I had to leave university. I still believe in it. It’s difficult to come out of university and get the job you want, so I know to have university students be a part of this project meant a lot to them, just like it meant a lot to me. I was just bridging the gap between industry and education. It worked, and I got the opportunity to meet so many cool people—people who have been listening to me since the beginning. It was raining like crazy the whole week of the exhibition, but people still made the effort to leave their house and be a part of what I’m doing. I could not be more grateful.
Despite the fact that you don’t consider “Wings” and “Dead Body” the first “singles” for the album, why did you decide to lead with these songs? The confrontational “Dead Body” video is striking, especially in the context of the horrific, senseless violence happening around the world.
Yeah, “Dead Body” really relates to all of that. “Wings” and “Dead Body” are such opposites of each other; they show two different sides. That’s what I give you on this album—I give you a range of characters and scenarios. “Wings” and “Dead Body” are not singles, they’re just songs from the album.
What was it like to perform “Wings” and “Barz Simzson” on the BBC Proms this year? Did that feel like a milestone for you?
It was so special to play with an orchestra at an iconic venue like the Royal Albert Hall—to have them behind me while I do what I love, in front of tons of people on live television. That experience was just mad. It’s unexplainable, and it all happened so quickly. Normally I perform “Barz Simzson” at the end of my set. My set was around six minutes, so I felt like it was over before I could take in what was really happening. When I watched it back, I was mad pleased and so proud of myself.
What have been other important milestones leading up to the release of the album?
Meeting people at the art exhibition taught me a lot, but also traveling. I have never traveled so much in my life. It’s opened my eyes to so much. To me, once things are done, they’re done, and I move forward. I’m more excited for what’s to come, because it’s better than what’s happened already.
In grappling with the idea of fame, how have you felt or processed being shouted out by people like Kendrick Lamar (“She might be the illest doing it right now”) and Yasiin Bey?
It is definitely gratifying and well appreciated. When I see Kendrick, it’s nothing but love, and I expressed my gratitude to him, because he didn’t have to go on live radio and say that. I’m nothing but thankful, that’s all I can be.
For people here stateside, seeing you freestyle on Sway in the Morning was a pretty big deal, because you totally killed it. Have things been different after that?
Definitely, I got a very good response. It was better than I imagined, because I thought that I messed up. Coming to Sway in itself is nerve-racking, because I’ve watched people kill so many of the freestyles. There was just too much on my mind, but I watched it back and thought, “I’ve done what I’ve done.” It opened doors again, so I’m just thankful for the opportunity.
I saw on Twitter that you were calling out people who are saying “Wings” a grime song. What do you think is the misunderstanding?
I don’t think it’s that they don’t know what grime is. It’s just the easiest thing for them to put me next to, because they don’t understand what I’m doing. I get it, but it’s just… if you don’t understand it, just say you don’t understand it. Don’t make it seem like it’s grime when it sounds nothing like grime. I don’t know if they are referring to my flow, but the song as a whole is not grime. I just don’t really understand it.
How did you learn about the business side of the music industry and figure out so early that you wanted to be independent, have a label, and be in control? As a new artist, it’s easy to be desperate or just want to get the music out.
For the longest time, I always wanted to be signed. Then there came a time when I was just fed up with labels, them telling me the same shit, and being misunderstood. I was like, “Cool, if you don’t understand what I’m doing, I’m not gonna force you to get it. I’m just gonna do it on my own.” I knew for a fact that they’d get in touch when they do get it, and they have.
Learning the business side and being a businesswoman has been a journey. I’ve had to be a lot more militant, especially because I’m a woman. So I just have to handle my business. I think everyone should take on this role if they can, because it teaches you a lot and just puts you in a different caliber.
You’re not just an artist anymore. You’re an artist, you’re a brand, you’re a company. You’re a lot of entities, as well as being a human. It’s kinda tight.
How did you decide to work with your close circle of friends and producers (Josh Arcé, IAMNOBODI, OTG) on the album? I’m sure tons of people send you beats and songs.
They have a sound that I wanted to use and blend to make the album sound cohesive. That’s what I’m about. I like when things sound complete and not like a compilation. You can’t just listen to any single song on the album, you have to listen to it in totality to understand it. I was fortunate enough to work with people who understand that and helped me create the album that I wanted to make.
What is your idea of a perfect day?
My ideal day would be really chill. I would have my nephew with me, because he just gives me so much life. I’d be around my loved ones. Just do music, have some food, preferably like a Sunday BBQ setting—hot. Just really relaxed.
Little Simz album A Curious Tale of Trials + Persons is out today. Buy here.
