Unapologetic. That's exactly how Lizzo is feeling. Unapologetically big, black and beautiful. The Detroit-born, Minneapolis-based polygonal artist, a refreshing hip-hop-injected intersectional voice to the riot grrrl legacy, is equal parts playful and equal parts political, advocating feminism, body positivity and black empowerment through explosive genre-bending creations like new singles 'Humanize' and 'Ain't I' off her forthcoming sophomore solo album Big GRRRL Small World, out December 11.

Lizzo laughs the way she raps - undone and infectious. The album is almost here and she's ready. Although still receiving praise and touring opportunities from her 2013 debut album Lizzobangers, it's only now that a happier, healthier and more mature Lizzo is able to deliver her most personal music yet, as she sets out to dominate this tiny little world with her big movement.

Big GRRRL, Small World. You said those words in the first song you ever made. It was the first line you ever wrote and now it's a movement. So tell me about the Big Girl, Small World movement and how you've seen it impact fans through their feedback to you.

Did you talk to somebody? That's so funny. I guess I don't have to explain the first part to you, but I remember being scared to say that so boldly on a song and then having to say, you know what, I'm claiming this for myself. I'm saying I'm a big girl in a small world before anyone else could. I feel like, taking it and being so blatant about it and putting it on a flag basically attracted other people the same way, who are afraid to call themselves big or weird or different. I feel like, you are not what the media wants you to be. I feel like I've gotten a lot of positive response for it. Lots of people who call themselves big girls could be very thin, they could be boys, they could be grown women and they could call themselves big girls. Babies can call themselves big girls. And I feel like that's a beautiful thing. It's beyond just a physical description of somebody and it's become anyone who is disenfranchised or not appreciated in the media or have never been able to find a way that best describes them. All of these negative words that we have that people use to describe others, that shouldn't be the only pool that we have to use. We should have better words to call people. But unfortunately, we don't.

For good reason, you're constantly being praised as a body-positive rapper. You just let me know a ton of different ways the big girl title can be used, but what resonates with me the most with the concept of Big Girl Small World is the thought that women, sometimes we have to be larger than life and better than our male counterparts to get equal recognition in a male dominated industry. Is that something you've been cognizant of on your journey and in your proclamation?

It's a weird experience, because I've been me through this whole process. I get people telling me that I'm larger than life without having to try to be and I know in so many scenarios, people are like, "You've got to go big, Sweetheart." Whether that means you have to be bleached blonde - and I was. I was super blonde for a while, because I thought I wouldn't get noticed. But it has a lot to do with the Small World part. The world is getting smaller every day and I don't want to get swallowed by it. I didn't feel like I had to be larger than life, I just happened to be. But it's very true. It happens a lot. I just think I'm extra.

You have a long history of collaborating in girl bands and such. I read that your debut solo album Lizzobangers was actually just you wanting to have something solo down.

Yes. In Minneapolis, there's a lot of people who have shows and gigs around and I remember the times I got asked to play shows, I didn't have enough material. After I had a little writers block, my goal was just, if someone asked me to play a solo show that I could fill 30 minutes. I'm blessed that I got that and then some.

And now, you're getting ready to drop your follow-up album, Big GRRRL Small World.

This is definitely me mastering my style and honing my voice and I'm proud of it. Because I didn't stick to a specific genre and I just made all of the actual music that I wanted and I had the musicians that I wanted to pay on the record to actually play, I'm extremely proud of it. It's my opus. To me, this is finally the music in my head.

What can we expect from it sonically that we haven't heard from you?

I sing more. I sang a lot on the other album, but it was in the weirdest way. I'd rap the verses and sing the choruses, very much as if I was my own hook girl. I hate that term, but for people to understand, I was my own Ashanti to my Ja Rule. It was cool. I felt like that was what I needed to do, because that was, in my mind, song structure. This time, I got to experiment more with vocals. I got to sing softly instead of belting like I normally do. So that's different, instead of my big voice being like, "Batches and Cookies," you get moments where I'm rapping and it's more downplayed. You will also find on this album that I'm less angry. There's moments where I've broken past the anger. Black women especially are pegged as this angry black women narrative and Lizzobangers fell right into that stereotype. I was going in on people. I was mad. I was outraged. I feel like on this record, I found a better way to explain myself and you can see some vulnerability. Last but not least, there's just way more live music. Eric Mayson played piano, he's such a beautiful piano player. There's live bass and live drums, strings and guitar and saxophone.

In relation to the idea of vulnerability, I read that you had said the album was going to be just as political as Lizzobangers but coming from a happy and healthy place. How did you manage to find that sweet spot?

You know, I had to feel a lot of hurt. Lizzobangers was written in like 2012. It was before the Black Lives Matter movement and a lot of songs on there were about police brutality and the black woman's plight. And just like Yeezus, not to compare my record to Yeezus, but if you think about the way Kanye came out with it right before the Black Lives Matter movement, he was so angry. And I feel like all his anger was just sent into the universe. It didn't have a filter. It didn't have a tunnel to travel through. With the Black Lives Matter hashtag, I felt like I had a community of people to voice my outrage and anger and deep sadness to. I feel like having that community helped me be able to, instead of vent in my music, I'm able to process in my music. I'm venting to them and I'm processing via my music. Before, I didn't have that and was just like, "Why are you guys killing people in the streets?" "Why did you do that to Michael Jackson, Dorothy Dandridge and Chuck Berry?" I was so angry. Now that I feel like America's starting to heal, at least there's a community of people who are starting to create healing and movements. I have that and I'm able to deeply engross myself in that. And in my music, you are hearing my mature thoughts.

That's so good to hear and it's so necessary, because hip-hop came out of those emotions and the coming together of a community. We're circling back and relying on community and culture to help get through this current time.

It's a beautiful time for hip-hop. Black people in America, we never really had a golden era. There's always some type of injustice or some type of wrongdoing or horrible system. But hip-hop is exciting right now. With Kendrick Lamar alone, I have so much to look forward to. That's where hip-hop came from. It came from wanting to be happy and evolved to black people documenting the struggle. And now it's this. I'm excited to be a part of it.

Excited you are, too. So, I want to know about Big Grrrl Small World as a label.

That happened from me wanting to know who owned my music. This music is really personal. I feel like Lizzobangers was shared equally between Ryan Olson, Lazerbeak and myself. And that's fine. I think the label I was on represented that. Totally fine. This music is so personal and these are songs that I'm so proud of and they feel like my babies that, I only wanted to own them myself. I didn't want to share them with anyone, besides BJ Burton of course, who produced this record. I felt like the best way to do that was just to put it out on my own. The exposure that a label can give you isn't really my priority. The opportunity a label can give you is a whole other thing. But the ownership trumped everything. It's a pivotal moment, because I know exactly what I wanted. So, I just decided to just do it. I don't know what's going to happen. I just know that the music is going to be delivered to the world the way that we've ordained it to. Whoever likes it likes it and we'll go from there.

You keep a ton of women around you, from your band to former girl groups and you recently opened for Sleater-Kinney on tour. What has working alongside so many women taught you about female friendships in competitive industries like music?

I love surrounding myself with women, because we're the more emotional side of the species. We're also the more intuitive. There's a lot of deep wisdom and intuition that is shared in a group of women. I treasure that. I feel like a lot of it wasn't intentional. A lot of it was just me looking up surrounded by a bunch of chicks and it was awesome. I think that we have tried to bring men around and it just doesn't work. I think it's a lot. We've got a lot of estrogen and that intimidates men. That's fine. You can be intimidated. There's a few key people that can hang.

We already mentioned that it's been an incredible year for hip-hop, it's been an incredible year for genre-bending innovators and it's been an incredible year for women. Where do you see yourself standing amongst the landscape of music once you put your album out in the last month of this rewarding year?

I hope to stand on my own. I hope to impact people who are expecting the record and some that aren't. I hope to do some impacting. I think it will be good.