Album Review: Little Simz’s ‘Sometimes I Might Be Introvert’ is An Ode To All the Wallflowers

The London rapper establishes herself as her generation’s foremost feminist rapper, with lush soul-jazz sounds and astute lyricism centering on her introversion, family strife, and womanhood.

Written by C.S. Harper

Photo courtesy of Nwaka Okparaeke

Little Simz is the Daria Morgendorffer of hip-hop, but in the best way possible. Born Simbiatu Abisola Abiola Ajikawo, the UK rapper is a lyrical muckraker who challenges societal norms for women as a staunch feminist. But like the beloved ‘90s cartoon character, she always reveals her own flaws and vulnerabilities in her trademark deadpan cadence. And it is this striking candidness that made her third studio album, GREY Area, stand out. Whether mourning her friend’s murder in the devastating “Wounds” or proudly proclaiming her selfishness in the aptly titled “Selfish,” Ajikawo showcases the highs and lows of modern womanhood through raw, evocative lyricism. Her creative genius goes beyond her songwriting — the genre-bending production of GREY Area is just as memorable as her lyrics. The single “Offence,” for instance, marries nostalgic throwback genres like funk with the grimy sounds of experimental hip-hop.

Thanks to the immaculate production and lyrics of GREY Area, Little Simz quickly became a breakout star in 2019. Earning a Mercury Prize nomination, number one on the UK R&B Albums Chart, and a perfect rating from NME and Best British Album from the publication’s awards show, Ajikawo seemed to be at the height of her career. The album’s universal praise built significant hype for her next project, but it didn’t seem to faze her. When she released her fourth album, Sometimes I Might Be Introvert, the rapper shared on Instagram, “I remember being asked after GREY Area, ‘whats next whats next?!’ I had no idea but I knew it was going to be sick.”

And sick is an understatement. Sometimes I Might Be Introvert is all GREY Area is and more. While its predecessor focused on the tumultuous “grey area” that was Ajikawo’s mid-20s, her latest release sees the rapper turn to broader, more universal introspection. As a concept album about the rapper’s introversion, this record is wholly her — even its title is a backronym of her nickname, Simbi. The record also conquers sonic territory that the rapper hadn’t previously explored: featuring lavish classical orchestras, Afrobeat rhythms, and synthpop beats at different moments in its runtime. With its idiosyncratic production and intimate narrative, the album feels more like a musical mindfulness diary than a commercial record.

Opener “Introvert” ironically starts the album with an exuberant bang. A marching drum leads triumphant brass instruments and chanting vocalists before the track simmers into a hip-hop beat. Amid the spine-chilling production, Ajikawo addresses the world’s increasing political turmoil since she left listeners back in 2019. She spits blazing fire in her stream-of-consciousness style, rapping, “All we seen is broken homes here and poverty / Corrupt government officials, lies, and atrocities.” She also divulges her inner demons throughout the track, lamenting her fame and mental health struggles. “One day, I'm wordless, next day, I'm a wordsmith / Close to success, but to happiness, I'm the furthest,” she raps fervently. Despite Ajikawo’s anguished tone, frequent collaborator Cleo Sol complements her verses with a hopeful chorus: “The world's not over / I will make it, don't you cry / In God we trust / 'Cause we're not alone.”

But at six minutes long, the song doesn’t end after the last refrain. As the instrumental dies down, actress Emma Corrin makes the first of a series of monologues scattered throughout the album. She sets the tone for the next track, optimistically proclaiming, “Your introversion led you here / (...) As you embark on a journey / Of what it takes to be a woman.” Then, the neo-soul “Woman” kicks in, with groovy keys and vocalizations from Sol. In this tribute to Black women, Ajikawo name-checks Donna Summer and praises Black women across the world, from Jamaica to Ghana. The rapper continues paying homage to Black icons in “Two Worlds Apart,” a sultry, dreamy track with bongos and a sample of Smokey Robinson’s “The Agony and the Ecstasy.” “Who knew love would be so damn toxic? / I am intoxicated, exhilarated, finally moved on,” she spits in rapidfire bars directed at an ex.

Throughout the album, Ajikawo reflects on her past and heritage in several ways. She sonically incorporates her Nigerian roots in the album, exploring Afrobeat rhythms in “Point and Kill” and “Fear No Man.” In “Rollin Stone,” she revists her earlier, grime-influenced production. She delivers braggadocious bars over a gritty bass and minimalistic beat. In another standout, “I Love You, I Hate You,” she reflects on her father. Despite the song’s upbeat funk drums and idyllic harps, Ajikawo mourns her complicated relationship with him. “My ego won't fully allow me to say that I miss you / A woman who hasn't confronted all her daddy issues / (...) Never thought my parent would give me my first heartbreak,” she raps over a looping sample that sings, “I love you / I hate you.”

Image courtesy of Age 101 Music and AWAL Recordings

“Standing Ovation” is another sample-heavy gem, using a snippet of Talib Kweli’s “Never Been In Love” to soundtrack its lyrics about gratitude. In an interview with Apple Music, Ajikawo explained that aside from focusing on her story and her success, she wanted to dedicate a track to “the people on the ground doing real amazing work,” a particularly timely message delivered during a pandemic that has wreaked havoc on essential workers’ lives. The tender tone of “Standing Ovation” continues in “I See You,” a soft, guitar-led love song. Ajikawo divulges her insecurities in the first verse, simultaneously addressing a lover and her fans. “Would you take me as I am, overlook all my mistakes? / Though correct me when I'm wrong, humble me, put me in my place? / Would you be the one I come to when I'm needin' an escape? / Still be my biggest fan if I canceled all my dates?” she muses softly.

“The Rapper That Came To Tea” marks a turning point in the record, as Corrin offers Ajikawo words of wisdom in another monologue. According to the rapper, the song is about her process to “better [understand her] introversion.” The actress delivers cryptic aphorisms like “The bravest of hearts can sometimes be the loneliest of souls / And pride comes with pain / So to be proud is a losing game / (...) Never look back, your destiny awaits.” The song erupts into orchestral instrumentation as a choir sings, “It don't matter where you are / You can still reach for the stars.”

Having embraced her introversion, Ajikawo reflects on her journey as a musician in the penultimate track, “How Did You Get Here.” In the bittersweet, piano-led song, she reminisces about giving homemade mixtapes to classmates and shooting no-budget music videos with her former rap group, Space Age. “I'm the version of me I always imagined when I was younger,” she raps in disbelief.

Paradoxically, Sometimes I Might Be Introvert is Little Simz at her most raw and her most refined. Sonically, the record is a vast improvement from GREY Area, exploring new sounds and complementing the lyrical themes of heritage and beginnings with nostalgic instrumentals. As a songwriter, Ajikawo displays her storytelling prowess with heartfelt lyrics that pay homage to both her past and present. In doing so, she creates an ambitious, yet vulnerable, concept album that celebrates Little Simz fully, flaws and all.