If you’re currently on the lookout for a new lyrical artist, look no further than the artist listings at Montreal’s very own MTELUS. On October 9, British-Nigerian rapper Little Simz took the stage to deliver a showstopping performance. Simbiatu “Simbi” Abisola Abiola Ajikawo hails from North London and rose to acclaim through the independent release of her first three albums: A Curious Tale of Trials + Persons (2015), Stillness in Wonderland (2016) and Grey Area (2019). A versatile artist who is influential in both the music and film industries, Little Simz has created a name for herself across the media. Some people might know her for her rap and experimental tunes, whilst others know her as “Shelley” in Top Boy, a popular British drama series.
Simz’s two latest albums, Sometimes I Might Be Introvert (2021) and No Thank You (2022) have been greatly received by critics and fans alike. The former has been widely regarded as one of the best album releases of the year, and was ranked number one by British music publication The Line Of Best Fit. Little Simz was supposed to tour Sometimes I Might Be Introvert last year in the US, but had to cancel due to the mounting financial constraints she faced as an independent artist. Studies show that streaming platforms and services are benefiting hugely at the expense of artists, an example being that Universal Music Group is profiting from the 25 per cent cut that Academy Music Group withdraw from merchandise sales in its venues. Little Simz told the Guardian: “Being an independent artist, I pay for everything encompassing my live performances out of my own pocket and touring the US for a month would leave me in a huge deficit. As much as this pains me to not see you at this time, I’m just not able to put myself through that mental stress.” These struggles are expressed in her newest album, No Thank You, which has just been toured in the US and Canada. It’s safe to say that Simz has overcome this setback and is ready to perform her moving hits across the UK and North America.
Simz has been very vocal both verbally and lyrically about her experience navigating the music industry as an independent artist. “No one wanted to sign me! I was knocking on everyone’s doors … and they wasn’t hearing it,” she told Skalvan, a Norwegian-Swedish talk show host. However, now that Simz’ artistry has been recognised by critics and has achieved financial success, she is being approached by major record labels. In “Angel,” the first song listed on No Thank You, Simz directly alludes to the exploitation of independent artists within the music industry: “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.” This experience isn’t unique to Little Simz. The dismissal of independent artists’ humanity is rampant within various artistic industries, from books to music. Through her lyrics, Simz is echoing these harsh realities that have been frequently addressed by artists such as Saul Williams in his 2004 album List of Demands. It is no secret that economic success is appealing to major labels. This often leaves emerging artists conflicted, as they face offers that seem appealing at face-value, but hide the looming threat of exploitation. Simz is one among many who have faced this decision, but she chose to remain independent and dodge the exploitative record labels itching to hop on the ride of her recent critical and financial success.
Making a decision to go independent as an artist can be liberating – it gives you a certain creative autonomy you could not otherwise possess. However, it isn’t exactly all happy times. The financial pressures, particularly when touring, can be a nightmare for many independent artists. This summer, full-time independent musician Sarah King spoke about the financial struggles of touring as an independent artist and how they have only been exacerbated by the pandemic. Since the outbreak of COVID-19, King notes that the most difficult aspect of touring is finding a venue in the midst of shutdowns. Even if you can find a suitable venue, available dates are limited for “mid-level artists” due to extensive backlogs.
During the course of Simz’s career, she’s made it clear that she is in it for the long run. Even if she is faced with hardships as an independent artist, for Simz the rewarding nature of an autonomous musical journey is what matters most. Reflecting on her journey as an independent artist, Simz told Music Week that “It always sounds very appealing when you’re being wined and dined and promised things. But I also have friends and peers who are on major labels and I talked to them. It’s not as if they say anything crazy or wild, but I wanted to get all the perspectives. So I don’t actually know what it is to be a signed artist. I mean, I might have it all backwards. I might be missing a trick, but I think I’ve found something that works for me. It’s a lot of hard work, but I’m definitely a stairs person and not on the escalator journey. It’s super-rewarding and I get to do what I want.” This has been noticed by the likes of multifaceted artist and director Robert Swerdlow, who told Music Week: “Very rarely do you get an artist who can work in a global, smart and culturally relevant musical space and stand up 100 per cent for independence. And Simz never compromises on any creative level, from music, to marketing, identity, aesthetic and video making.”
Simply put, Simz’s artistry truly embodies the act of being resilient and trusting that your time will come. These qualities are integral to being an independent artist in the chaotic climate of today’s music industry. As such, Little Simz’s career is one to be watched. Montreal is honoured to receive her work.