They say that what goes up must come down, though Little Simz would clearly beg to differ. The British rapper has been crafting one of the most consistently impressive discographies in hip-hop since 2019’s ‘GREY Area,’ delivering quality release after quality release. 2025’s ‘Lotus’ is, thus, one of the most hotly anticipated and widely discussed rap albums of the year. In many ways, the sixth Little Simz project sports all the promising traits we’ve come to expect in terms of lyrical intricacy, instrumentation and pure rapping ability— beneath that mask though, the album’s directionless nature winds up being its Achilles’ Heel.

‘Lotus’ feels less like a definitive statement piece (in the same vein as, say, 2021’s ‘Sometimes I Might Be Introvert’) and more like a sneak peek at a diary: Simz tackles an extraordinary number of lyrical themes across these thirteen tracks, with the only connective tissue between these disparate ideas being her own human experience. A great number of these semantic themes play out well— see the vengeful ranting on ‘Thief,’ wholesome musings of ‘Free’ and confrontational bars of ‘Blood’ as an excellent example of how wide-reaching the album’s messaging manages to be— but taken as a whole, ‘Lotus’ often feels like a project lacking purpose or direction. Though the vast majority of topics Little Simz approaches throughout the record are well-warranted, this may not have been the album to stuff them all into.

The opening run of tracks feels somewhat whiplash-inducing, thrusting the listener into a fairly disorganised collection of emotive ideas— perhaps that feeling of “tumbling down the rabbit hole” was the intention all along, but in practice, a disoriented listener is likely to be distracted from the album’s deeper lyrical themes. ‘Young’ is, by a considerable margin, the worst offender in this regard: between its cartoonish bass lines, childlike hooks and semi-comedic vocal performances, the song pushes its way into the track list like a wrecking ball, hell bent on destroying the record’s more somber mood up until this point. For as conceptual as ‘Lotus’ can be in its best moments, the LP seems loathe to stay in one mood too long: enter the goofy refrains on ‘Lion’ or the starkly energetic ‘Enough,’ which sound like they were penned for a very different album than this one.

It’s between these ill-fated inclusions that the record really shines: Little Simz is a conscious rap artist, and ‘Lotus’ is at its best when fully indulging in weighty themes and mournful atmospheres. If there is a consistent through-line underpinning this collection of songs, it’s the joyous live instrumentation that uplifts near-every track here. Opener ‘Thief,’ a vicious lyrical barrage aimed at former producer Inflo, sinks into an infectious groove comprised of prominent bass parts, crisp jazz drumming and somber guitar lines— the following single ‘Flood’ indulges in a similar (albeit more stripped back) instrumental palate, though the cut manages to steer clear of the somewhat irritating chorus that haunts ‘Thief.’ Floating vocal harmonies and spacious melodies are the musical language of ‘Lotus,’ with the record holding onto these sounds on songs like ‘Only’ and ‘Blue’— when allowed to truly flourish, Little Simz’s latest project is fully capable of exactly that.

The album’s weakest moments are compensated for by some wondrous standouts, which see Simz at her most focused and decisive: though we wish the entire project had been allowed to dwell in the same contemplative atmosphere as its brightest passages, these tracks are nonetheless extraordinary additions to her catalogue. Single ‘Free’ sounds like heaven’s elevator music, coasting on sweet acoustic guitar lines and the gorgeous refrain of “wishing that the love will set us free”— the track’s outro, seeing Simz incorporating the song’s titled into her lyrics over and over and over again, showcases how easy the rapper finds it to run circles around her competition. The heart-wrenching ‘Blood’— an honest, vulnerable exploration of familial love and lost connection— feels similarly show-stopping, turning its verses into a heated argument between Little Simz and Wretch 32. Though comparisons to Kendrick Lamar’s ‘We Cry Together’ are inevitable, the song stands on its own as an emotionally potent cut, even if we wish some of its lyrical choices didn’t feel so stilted.

“So when I hear you talk on what you're going through

It breaks my heart into two pieces

It's like life's got two meanings

Three series and four seasons”

In its final three track run, ‘Lotus’ finally finds a singular direction to pursue— by its conclusion, the album focuses solely on mental health, leading to its most promising material. The title track is something of a hip-hop odyssey: the grim jazz instrumentation, expansive production and impassioned Michael Kiwanuka hook all provide the backbone for Little Simz to explore her role in the spotlight. Believe us when we say she isn’t holding back here, cutting into her critics with an aggressive snarl and a razor sharp wit.

“So when you're in the public eye

I wanna see your best

I been saying the world's f*cked from when I was twelve

So don't tell me what I should be speaking on

If you ain't changed yourselves”

This explosive magnum opus— really, the song is one of Little Simz’s best— gives way to the suitable calmer, more reserved ‘Lonely’ and ‘Blue,’ which pull back both lyrically and sonically: ‘Lotus’ ends on its most introspective material, winding through musings on self-worth and personal growth. Somehow, the album manages to tie its disparate themes together as it closes itself out on a mixture of wistful guitar voicings and a beautiful Sampha feature.

“I was lonely making an album, attempted it four times

Lost my confidence and you wouldn't believe why

Sitting in the studio with my head in my hands

Thinking what am I to do with this music I can't write?”

‘Lotus’ does so much right— it’s a collection of thoughtful lyrical themes, impassioned performances and sweeping instrumentation, sure to delight the massive number of Little Simz fans across the globe. The album teases at being something more though: for all the record’s bright spots, a weaker moment is never far in this inconsistent track list. Ultimately, ‘Lotus’ feels more like a mixtape than it does a holistic album experience, with the handful of excellent songs here failing to coalesce into something more— even still, we’ve no doubt that cuts as strong as ‘Lonely,’ Free’ and ‘Flood’ will continue to lure us back time and time again.