FEATURE:
Saluting the Queens
Little Simz
_________
IN the next part of this feature run…
PHOTO CREDIT: Jackie Nickerson for Document Journal
I am going to focusing on someone behind the scenes in music. This feature salutes powerful and important women in music. For this edition, I am focusing on someone very much at the forefront and in the spotlight. Today, it is all about the mighty Little Simz. I wanted to look back at her album from last year, NO THANK YOU, which turns one very soon. As she (Islington-born Simbiatu Abisola Abiola Ajikawo) has just done a run of live dates, it is worth bringing in a couple of reviews for a particularly special homecoming. To demonstrate what an immense live performer she is, in addition to showcasing her incredible potential as a headliner next year. Released on 12th December, 2022, NO THANK YOU was an unexpected follow-up to the previous year’s Sometimes I Might Be Introvert. That (Sometimes I Might Be Introvert) became Little Simz’s first album to place in the top-ten of the U.K. album chart. It won the Mercury Prize that year. It also won the BRIT Award for British Album of the Year. It was named Best Album at the MOBO Awards. Despite the fact that Little Simz released this stunning and heralded album, there were setbacks through 2022 in terms of her touring capabilities. As an independent artist, she was unable to tour as widely as she’d hoped. Such an important and respected artist having to lessen her scope and reduce her shows! I want to come to reviews for one of last year’s very best albums.
Quite a lot of the interviews that came about from 2022 were in reaction to Sometimes I Might Be Introvert. Others focused on her work acting in the series, Top Boy. Harper’s Bazaar spoke with Little Simz in November 2022 (a month before NO THANK YOU came into the world). They named her their Women of the Year 2022 Musician:
“Being an individual can be scary," Little Simz says, her brow furrowed. "But I always want to say to people, if you believe something is cool, it’s cool. And if you want to do something, do it." The independent-label musician, rapper, writer, actress and photographer is well-qualified to reflect on the joys and perils of doing your own thing. As deft and multidisciplinary as she is driven, Simz has, for the last decade, been forging a career path that is entirely her own. In the past couple of years, this one-woman cultural phenomenon has released a five-star-reviewed album, art-directed short films, joined forces with Gucci, photographed a beautiful portrait series featuring her long-time friend, the Black Panther star Letitia Wright, and taken pride of place on Barack Obama’s ‘Favourite music of 2021’ playlist.
But she has been at her most prolific in 2022. In the spring, she won a Brit for Best New Artist (and brought the house down performing two tracks on the night, the interlude delivered by her collaborator, the actor Emma Corrin), then the NME Best UK Solo Act gong. Shortly afterwards, Netflix released the latest series of Top Boy, its cult drama about London drug gangs, in which Simz plays a central role; and in June, she headlined Glastonbury’s West Holts stage. September saw her step out in Stormzy’s groundbreaking music video for ‘Mel Made Me Do It’ alongside Usain Bolt, Dina Asher-Smith, Malorie Blackman and Louis Theroux, and a month later she was named the worthy winner of this year’s particularly competitive Mercury Prize. All the while, Simz has been writing a non-fiction book that will be published in 2023 – a collection of photographs and handwritten personal essays alongside interviews with fellow members of the creative industries, as well as people from other professions, such as a doctor and a chef.
"I’ve had a wicked year – prosperous –though a bit mad at times," the artist says modestly. "I’m quite relaxed about the success. I’m just proud of myself, because I’ve done something I set out to achieve, and it’s nice seeing dreams come into fruition. I am not anywhere near peaking, though. In a way, it sets off a new fire in my belly."
In person, Simz – casually dressed in black with her hair tied back – is calm and self-effacing; a contrast to the commanding presence I saw on stage at a festival in the summer, performing from her album Sometimes I Might Be Introvert. In its 19 tracks, Simz moves through the musical spectrum via rap (containing her signature superlative wordplay, often delivered at jaw-dropping speed), orchestral strings, soul, Afrobeat, grime, hip-hop and gospel, and her lyrics feature cultural references ranging from Judith Kerr to Kendrick Lamar. These touchstones are woven into wider topics, both political and deeply personal, including womanhood, race, love, and her professional troubles and triumphs. On one track, she cheerleads herself gloriously – "I think I need a standin’ ovation/Over 10 years in the game, I’ve been patient". She half-jokes that she was "too brave" on the album, in sharing so much. "But I think that’s why people relate to it," she says. "I’ve always found comfort in putting things down on paper – I communicate at my best when expressing myself through writing."
PHOTO CREDIT: Camilla Åkrans
Simz is clearly motivated by a desire for human connection. She lights up when discussing how her sound and sentiments resonate with people from all backgrounds, however different they are from her own. "Purpose is so important to me. I want to always act with it," she says. "With music or words, people think they’re hearing sound, but they aren’t – they’re hearing intention. If it’s there in the writing and production, that is the reason why, when someone plays a specific chord on the piano, it can move you to tears."
As such, she sets a high bar for her own live gigs. "I hope it makes the audience feel they’re experiencing something big and engaging together, that they’ll tell their kids about in 20 years. Not comparing myself to her, but you know that thing when someone tells you they got to see Beyoncé? I would love people to feel that about my shows, and get to say: 'I was there.'" She is smiling. "That makes me want to give everything to them”.
I will get to some promotion from this year. I’ll also come to some reviews for NO THANK YOU; finishing with a couple of live reviews from very recently. Even though we know Little Simz as an artist, Simbiatu Ajikawo is a very talented actor who I can see taking on film roles and rising to new heights here. Rolling Stone UK spoke with Little Simz last November about her music. They also were curious about her role in Top Boy (she plays Shelley):
“It’s like flexing a different muscle. As Little Simz, she’s in charge. It’s her vision, accelerated by her ideas. She is, after all, a solo artist. She built a career from freestyling as a teen and self-releasing mixtapes to winning awards — she also won a Brit in February — with that singular drive. Being part of a franchise took some getting used to. “It’s like a football team: everyone’s coming together to make this thing work. You’ve got to have trust in your teammates,” she says. Sometimes, when they’re doing press as a cast and she can’t quite come up with the right line, she’ll turn to Walters or Jasmine Jobson (Jaq), as if to say: “Help me out.” She and Walters have clicked since her audition. The prompt? For him to make her laugh. “And he did — that was it. It was super quick and simple,” she says. She remembers them laughing, shooting and re-shooting a sad scene from season two with Marsha Millar (who plays Pat, Dushane’s mum). When she describes the story, it’s so clearly loaded with in-jokes that I barely understand why it was hilarious. But she’s beaming. You had to be there.
Shooting season three has been bittersweet, she says. Ajikawo wrapped her scenes a couple of weeks ago: “There’s an element of letting go of that part of you.” But it’s also taught her about her limits, and about what feels good on set. “We worked with two incredible actor-directors this time around as well” — she won’t share their names because she’s “not sure” she’s allowed to yet. “And they really cared about performance as opposed to… aesthetic, and how it looks.”
PHOTO CREDIT: Kosmas Pavlos
She chooses these words carefully, slowly. Rather, this duo understood how to concentrate on how a scene felt. They knew how to see things from both sides of the lens. “Sometimes, if I’m doing a scene that requires me to go somewhere emotional, I ain’t got 30 takes in me to do that. Working with people who understand your capacity and what you can handle on any given day, is a blessing, for sure,” she explains.
Earlier in the day, I watch her navigate the photographer’s vision in a similar way. She’s wearing an electric-blue Gucci boilersuit and Adidas accessories. Quiet, determined, focused on every shot. The photographer yells encouragement at her, as she contorts her body: crouching, kneeling, then standing. At one point she roars, staring down the lens. Later, we’ll joke that Tyra Banks was right on America’s Next Top Model, about poses feeling weird but translating beautifully on camera. Even so, as the photographer clicks away, a member of Ajikawo’s team passes her message onto her publicist: this will be the last look. The information is relayed to Rolling Stone UK’s fashion director. Ajikawo is firm. Later, she’ll say she’s become “very protective of myself. I’m big on boundaries right now.” Maybe she hadn’t been before.
Does that mean she was pushed too far on other sets? “Not so much with acting,” she begins, but it can be tricky when having her picture taken. “You want me to shoot 20 looks today? I… I can’t,” even though she’d love to in principle. She’s learning to set limits. “When it comes to working with people on set, especially women, I feel like there’s a duty of care,” she says. “Everyone who gets photographed should be asked: ‘What makes you feel comfortable? What makes you feel safe?’ We’re using our bodies; that’s a vulnerable space to be in.”
I can see how Ajikawo has changed over the years. When she was younger, she was quicker to smile to put others at ease in interviews. Then, she had more to prove in a male-dominated industry where her world-building on EPs and mixtapes bucked chart trends. She seems to know herself better now. Her voice is direct, almost biting at times. She knows people on set are “checking for their jobs and whatnot, but I’m also trying to get in the zone. I’d rather not have 10 people look at me while I’m doing it”.
Earlier this year, DAZED chatted with Little Simz. Someone who followed the epic Sometimes I Might Be Introvert with the more stripped-back NO THANK YOU, this was an artist always moving and evolving. In spite of the success and brilliance of the albums, there were a lot still not aware of Little Simz. I think this is starting to change - though 2024 is a year where I hope more people turn on to her music and full range of talents:
“Sometimes, greatness needn’t be defined by metrics you have no control over. It’s also about succumbing to the belief that who you are today is as permanent as a handprint on a cold window. The life of an artist can be like this – a cycle of rebirth, a snake eating itself. Little Simz has no idea who she’ll be tomorrow, next month or ten years from now. What’s assured is her exploration of self through art, and this, probably the most beautiful element of being an artist, is emblematic of the ouroboros.
“I guess more people know who I am now,” says Simz with a wry laugh, commenting on life since the release of Grey Area in 2019. “Not much has changed really; I’m still doing what I’ve always done. Making my art and putting it out into the world and hoping it resonates with people.”
The first time we spoke, just before the release of that record, Simz described being content with where she was in her career. The frustration that came with not being where she felt she should have been was a feeling she was no longer concerned with. Back then, she’d yet to win a Brit award and the Mercury prize, publish a book or advance her acting career with a role in the third series of Netflix gangland drama Top Boy. Four years on, you can hear the resolve and quiet confidence in her voice; a flame has been rekindled in recent years.
PHOTO CREDIT: Jamie Morgan
“Grey Area was my breakthrough, but Sometimes I Might Be Introvert was a real turning point,” says Simz of her Mercury-winning fourth album, a Top 5 hit in the UK that cracked Rolling Stones’ greatest hip-hop albums list last year. “The concept, visual wise, subject matter, and just where I was at in life. I think I came into myself more but it’s also consistency.” She has just arrived back from her tour in Australia, her first visit in a few years, and there is some lag still in the air. “Sometimes I Might Be Introvert was definitely more expansive and conceptual. [I was] making music that I felt was need- ed and music I enjoyed; I wanted to make bops and I’m in my bag right now.”
For its follow-up, last year’s No Thank You, “I wanted it to be super-conversational,” says Simz, “and to give people an insight as to where I am and what I’m experiencing.” That insight into where she is creatively (“Charged up, fully barred up, I’m unleashing”) can be felt viscerally in the music video for “Gorilla”, directed by Dave Meyers and taken from the album. The bag she’s in is gargantuan; Simz is talking her shit on the track; it’s just straight raps. Sometimes, that is a concept that’s enough in itself, especially for someone who has moved beyond artistic frustration.
If there’s anything to take away from Simz’ work in recent years, it’s that finding comfort in success can just be about finding fellowship with other artists and recognising your own power. The fear that anyone would have to overcome to decide, ‘You know what? Today, I feel like showing people something different.’ Now, Simz gets to decide which version of herself she wants to be today. The musician. The rapper. Actor. Writer. Producer. “You’re free to be experimental and take risks,” she says of her approach to her work, which will next see her reprising her role in a new season of Top Boy. “Sometimes it’s scary but it’s so rewarding.”
“Music is energy,” she explains. “You want it to bounce off the walls, you want it to bounce between people, you want it to fill a room. It’s just fun to make music with people.” By her own admission, previous projects before Grey Area often had multiple producers sending beats over email with Simz recording whenever and wherever she was able. Working solely with one producer across various projects required a willingness to embrace the possibilities that opened up, a letting-go of what she thought she knew. The musical telepathy evident in No Thank You could not have been achieved on Simz and Inflo’s first project, as it required a deeper level of understanding of one another which may not have possible in 2019.
PHOTO CREDIT: Jamie Morgan
The publication of her first book this year proved one thing, at least: concern with being the best is child’s play. Simply titled the *book, the project features words and original photography from Simz and is described by the rapper as “a representation of my journey throughout life, the places I have visited, as well as people I have encountered. My moments, my thoughts, my accolades, my world... transcribed into pages, pictures, textures and colours”.
Simz has forged her own lane but to walk it, she’s had to overcome obstacles along the way. “I’ve found ways to deal with the frustration but I also think that my focus and attention is on other things,” she says. “I was probably worrying a lot about things I didn’t have but now my focus is more about what I do have and getting better.” It’s a feeling artists experience all too often, because there’s an underlying understanding that where you are currently is very rarely where you want to be. On the other hand, sometimes it’s just about getting on with it and controlling what can be controlled, leaving the rest up to chance. “Being frustrated doesn’t really do anything; it just leads to more frustration. I’ve found a way to use that energy in a different way and be productive.”
More people certainly know who Little Simz is now, but she’s more than just the sum of her work to date: there’s a fire in her belly to see how far this can go. “As long as I continue to be playful and have fun with what I’m doing, the evolution’s naturally going to go to a place that I can’t predict,” she says. “I just have to remember who I am and who I was before all of this”.
I am going to come to a couple of the many massively positive reviews for NO THANK YOU. I think that it was worthy of a Mercury Prize nod this year. This is what NME said about one of 2022’s very best albums. One might think that Little Simz would struggle to match Sometimes I Might Be Introvert. NO THANK YOU showed that there was no nerves or any sort of drop. She was very much at her peak:
“Little Simz is sick of hearing that she’s “underrated”. In September 2021, she bluntly addressed the tag by asking her Twitter followers: “Why don’t you stop being sheep and change the narrative?” It was a curious yet revealing moment: seldom do our current crop of musicians take stock, or at least speak publicly, about their place in the scene. That’s without even mentioning how Simz is currently enjoying widespread praise and bagging numerous accolades along the way, most recently nabbing the Mercury Prize back in October for her fourth album ‘Sometimes I Might Be Introvert’.
‘NO THANK YOU’ arrives as a pleasing coda to this particular purple patch. Announced just a week before its release with minimal fanfare, the stories she details over its 10 tracks seek to demonstrate that, amid the critical acclaim, there have been moments of anguish, frustration and betrayal, too. Some of these have already been made public: due to the spiralling cost of touring, Simz was forced to cancel a run of US dates earlier this year (a common story for independent acts like herself), while there were reports in October of a split with her longtime manager, a situation both parties are yet to comment on.
Regardless, Simz has a bone to pick: with the discourse, the industry hangers-on and those trying to exploit her name for their own gain. On ‘Angel’, she’s candid about the issues at hand: “Why did I give you the keys to authorise shit on my behalf? / Now I’m scarred and mortified,” she calmly reveals. Later on in the track, she speaks about how her success is benefitting everyone around her except herself: “I refuse to be on a slave ship / Give me all my masters and lower your wages.” ‘No Merci’ is equally blunt: “Everybody here getting money off my name / Irony is, I’m the only one not getting paid.”
In lesser hands, this subject could stray into self-pity. But Simz’s storytelling is deft and full of range, gliding between generational trauma (‘Broken’) and faith and the grind (‘Who Even Cares’) with ease. The album’s sonic palette, meanwhile, takes on a mellower and less grandiose tone, with Inflo – the producer behind her last two records and the mysterious musical project Sault – and collaborator Cleo Sol bringing a warm, homely base for Simz to nestle in. There’s still ostentatious string sections to be found on ‘Heart On Fire’ and ‘Broken’, but ‘Gorilla’s twanging bassline brings a playful pace, as does the warped pop of ‘Who Even Cares’.
‘NO THANK YOU’s quiet, understated release provides parallels to Kendrick Lamar’s ‘Untitled Unmastered’ release from 2016, a series of leftovers from his ‘To Pimp A Butterfly’ sessions. That too had a certain looseness and freedom to the tracks, and, much like Lamar, a clear-headed Simz has something to say urgently. The case for Simz to be recognised as a true modern great has only been strengthened with this release”.
The second review is from Rolling Stone. Getting some love and attention from a U.S. publication, let’s hope that Little Simz gets opportunity to perform through the country more next year. I know she has a growing American audience. Things are going from strength to strength for our Little Simz:
“Little Simz is like a hood BBC anchor. Her songs come off like quiet but spicy broadcasts, as if she checked in for a soothing afternoon chat if that somehow involves a soul-scorching read. Pleasant but snarky, Simz combines Queens Gambit cordiality with Top Boy aggression to marry well-bred flows to blistering bars. Appropriately, the London-born MC (and skilled actress) flaunts a thespian’s remarkable range: she gives us humor, charisma, and a lot of feels.
Emotion is Simz’s secret weapon. She has a knack for sharing heartfelt tales with marked conviction that settles deep in your sternum. She’s a bona fide technician, no doubt. But the sheer technicality of her rhymes is not at odds with her natural ability to craft poignant songs that make you laugh, cry, and silently rage. On No Thank You, the follow-up to her excellent 2021 breakthrough Sometimes I Might Be Introvert, Simz gives us 10 choice cuts (showcasing her brilliance and breadth) that convey the whole emoji board of riveting emotions.
IN THIS PHOTO: Little Simz at Fabrique Club on 5th December, 2022 in Milan/PHOTO CREDIT: Francesco Prandoni/Getty Images
Those battle-ready bars distinguish “Gorilla,” where Simz, over loping bass and crisp percussion, spits, “I’m cut with a different scissor/From the same cloth as my dear ancestors.” And it’s captivating to hear her effortlessly unpack a couplet that floors you as she skillfully pivots to the next bruising punchline.
But “Broken” is a boon of self-reflection, and it’s arguably Simz’s most powerful song to date. Buoyed by the strains of a choir, Simz describes how racism afflicts her, wasting her time, energy, and agency. “It shouldn’t be a norm to live your life as a tragedy/To live your life in a state of confusion and agony,” she sighs. And you’re reminded that being Black means being in a constant state of rage.
On “No Merci,” Simz kicks caustic bars (“I’m a human landmine/I am not a human being you can gaslight”), indicting lames that want her “stuck up in the matrix.” Meanwhile, “Heart on Fire,” with its blithe hook asserting that “my life is a blessing,” is her stirring manifesto. But the soulful “Sideways” is the obvious standout. Here, Simz embodies snappish warrior energy, confirming her calm sovereignty: “Walkin’ in my light, my shadow is protectin’ me/Never movin’ sideways, I done this shit my way.” We’re forever thankful for Simz’s bold originality”.
When Little Simz played a homecoming gig at Alexander Palace, North London earlier in the month, it was met with huge applause and love! A triumphant and five-star performance from one of our greatest artists. A singular talent and someone who is primed for headline slots next year – I shall talk about this to end -, there are few live performers as captivating as Little Simz! GRM Daily had their say about a truly memorable night:
“Alexandra Palace has always played host to homecomings of its local stars since the turn of the century. Seven years ago, veteran Skepta shelled down the halls of Alexandra and paid homage to his London roots. It was now the turn for one of Islington’s shining stars in Little Simz. A North London native who shared two hours of joy, celebration, honesty, and open arms.
Fans had been eagerly anticipating this moment. Having already achieved superstar status from her NO THANK YOU tour across the pond in North America and Australia, it wasn’t just the celebration of fireworks that intensified a smokey atmosphere ahead of the final lap. Osiris The God and Hak Baker kept the masses entertained. The opening acts ensured an enjoyable patience and allowed many to grab timely refreshments and a bite before the main event kicked off.
20:45 crawled closer and closer. Alexandra Palace was sent into darkness as they awaited their homecoming star who would send the 10,000 capacity into the raptures. Simz had stated she’d be going to work for the two-hour offering, supporters adhered to the message, sporting their icons now customary look of a drapey, oversized white shirt and black-tie attire. The assignment was understood on a memorable night in N22.
PHOTO CREDIT: Karolina Wielocha
The prestigious hall’s blanket of pitch black took a turn to the heavens as the wordsmith entered her stage. The visuals were aesthetically pleasing and absorbing on the eye. Was this a concert or a movie? It was undeniably both. We were invited into the mind and genius of Little Simz. Backdrops of silhouette figures merged as a choir, complimenting the opening song of the night and a standout on the recent album, “Silhouette”. “That’s when you find the strength and pick yourself up”. Sometimes, she may have her introverted moments, but for two hours the elegant lyricist had a magnetic aura which turned the venue into a frenzy.
The demographic of the night was a mixture of both new and already-accustomed listeners of the artist. Aligning both was a task Simz enjoyed, taking turns between her two most recent bodies of work which would be met with unmeasurable applause with every track ending. Her presence was something to behold. We were looking at a performance befitting of being likened to André 3000 and Kendrick Lamar. Early birds who managed to navigate themselves into the front rows of the audience were treated to intimate moments. An honourable mention to the fan whose memorabilia was signed by the superstar, and which is guaranteed to be a bucket list moment for any concertgoer.
With the world enduring a tough 2023 and more so the recent months, the headlining act asked Alexandra Palace for a moment of silence which was embraced with open arms. This would be a snippet into a more vulnerable side of Little Simz who held every fan in close proximity, sharing unfortunate news of coming into the last show with a bout of illness. Nevertheless, this would not put an end to the celebrations.
Obongjayar, a fellow Nigerian native who has stamped his authority all over 2023 would grace the stage for the energetic anthem “Point And Kill”. There was a carnival feel inside the hallowed halls and it continued with “Gorilla”, a track which embodies the artistry, confidence and perseverance of a woman who has manoeuvred to the top of an elite musical industry. That is where she sits now. Hindsight is a beautiful thing and something Simz recognised and shared towards the end of the glittering evening.
On show was unity. More than ever throughout the fledging, acoustic performance of the emotional “Broken”. Little Simz recognises she was once in a position of having to battle to be someone alike us all. Paying attention to the love she was shown also came as a full-circle moment.
As 22:15 approached, euphoria was still in motion and befitting of what she has achieved throughout her illustrious career. The outro was appreciative, and flowers were given to every female in the room with a powerful rendition of her soothing single “Woman”. Whilst the night had sadly came to an end, this had been a show for the ages. A perfect homecoming performance from Islington’s Little Simz”.
The Standard caught an artist at the top of her game. A confident and spellbinding performer, she delivered one of her finest performances. I did mention how I hope she gets U.S. dates next year. Simz has performed in the U.S. this year. I hope that there is more scope for bigger and wider touring in 2024:
“London, I need you to understand that you’re witnessing greatness, and I don’t say that with arrogance, I say that with confidence,” declared Little Simz midway through her second sold out night at Alexandra Palace, the final date of her tour in support of last year’s fifth LP No Thank You.
It’s a confidence that’s been hard-won; having flown criminally under the radar for the first part of her career, since 2019’s Grey Area, Simz’ currency has steadily risen, culminating in a Mercury Prize win and a BRIT Award for 2021’s Sometimes I Might Be Introvert.
Now, dressed in a slick, special agent-style uniform of white shirt, black tie, shades and leather gloves - with fans dotted throughout the venue in matching, tribute attire - she’s an indisputable star, in command of an unforgettable show that could be transposed onto any major festival headline slot and soar.
In truth, it’s a particular mix of supreme confidence and endearing honesty that encapsulated Simz’ - real name Simbiatu Abisola Abiola Ajikawo - presence. Entering to Silhouette, backed by a towering wrap-around screen showing a group of appropriately silhouetted gospel performers in the throes of song, for a large portion of the night Simz was the only physical body on stage: a bold move that only the most commanding of performers could pull off in such a cavernous space.
But for every moment that she cemented her place at rap’s top table from the playful verses of "might bang, might not", to the majestic, laser-focused Introvert - there was another that cut through the spectacle to pull back to the person who’d grown up a mere stone’s throw away.
The biggest spontaneous cheer of the night came during an early Two Worlds Apart, in which Simz rapped “London-born estate girl to international sensation”, while, later in the night, she gave an inspirational speech about following your dreams: “If there’s anything that anyone is truly passionate about then go for it. My house is 20 minutes away, and now I’m selling this place out”.
Interspersed with admissions that she’d woken up feeling ill and “didn’t know how [she] was going to find the strength”, and a poignant request for a minute’s silence for those lost in the ongoing Israel-Hamas war, Simz’ show was as much about community and humanity as it was an underlining of one of the most talented lyricists and performers of her generation. A stunning and heartfelt display from an artist at the absolute top of her game”.
I think that Little Simz should be headlining Glastonbury next year. Two female headliners have been promised, though we do not know which artists are booked. Maybe boygenius or Dua Lipa will be one of them. I hope that Little Simz is booked, as she has proven herself to be headline-worthy. One of music’s most important artists, I wanted to salute a music queen! Capping off a majestic and sensational 2023, all eyes are on the amazing artist for next year. I think that she will keep building and release another amazing album. There will be big tour dates and, let’s hope, she is booked to headline several festivals. In Little Simz, we have an artist who is…
BOUND for glory and immortality.