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The journey towards self-love is a long, strenuous and often painfully overwhelming expedition. And while it takes time to discover yourself, some never fully find the comfort they're looking for deep within their own skin. For women - for women in male-dominated industries, for women of colour and for marginalized, stigmatized and stereotyped women especially - the challenge to maintain healthy levels of self-love within the constructs of society's narrow assessment of acceptance, which swings like a pendulum between the limiting labels of weak and bitch, is a stifling acrobatic act that can take its toll. But Lizzo isn't settling for the bullshit. She is who she is, a strong proud black woman, a person of size and a charismatic artist of multi-talents constructing multi-genre music with influences from her multi-city experiences. No matter what anyone else has to say about it, she loves herself. And it's a love that became the muse for her best work to date.

"I'm in the business of making music," the 27-year-old Detroit-born, Minneapolis-based artist opens up her sophomore album, Big GRRRL Small World with the brash and explosive cut 'Ain't I,' the project's first single, which directly pulls its inspiration from the nineteenth century abolitionist and women's rights activist Sojourner Truth. It's a trigger; a bold beginning proving that Lizzo is in the business of much more. It's here on her exciting follow-up to her 2013 debut Lizzobangers, that the rapper, classically trained flautist and gospel singing polymorphic artist, combines explosive soundscapes, flaming energy and internal rhyming to deliver, on a piping hot platter, the message that she's finally found a healthy and happy place within herself, while delivering self-aware and unapologetic sonic doctrines on race, politics and body-positivity.

Riot Grrrl legends, Sleater-Kinney fittingly enlisted the dominating rap genius to open for their reunion tour earlier this year, exposing feminist music fans to a new sound, a new promising face and an appropriate and much-needed intersectional alternative hip-hop perspective to the imperative genre's legacy. By absorbing knowledge from the renowned band and channeling the commanding strength radiating from the Black Lives Matter movement, Lizzo felt a shift within herself as the year progressed, using the introspective inspiration to soothe her former raw mentality, finding a more unwavering peace within her work, which in turn, delivered a more positive product than the emotional Lizzobangers, which she admits was fueled by anger and outrage - a narrative she wanted to soften.

Big GRRRL Small World is a sonic and symbolic sweet spot. On 'My Skin,' she flips the famed Beyonce line "I woke up like this" to a more vulnerable and racially empowering, "I woke up in this," while 'En Love,' is a love song dedicated to herself. But her passionate approach to her music is mirrored with a contrasting animated light-heartedness, as Lizzo makes time to play on her versatile and electric production, executively produced by BJ Burton. Using dancing piano, soulful soultronica, ambient slide guitars, swarms of synths, saxophone solos, jazzy trenches, raucous raps, blasting basslines and euphoric church choirs, the multi-faceted sonic universe is constructed. The bold experimentation came directly from the decision to put the release out on Lizzo's own recently established label BGSW, that way, she was free to say exactly what she wanted to say in the exact manner she wished to say it. No boxes remain for her to be stuck in. She's decimated them all, while constructing in its place, a safe and ever-growing movement, urging others to find a similar love. "Let the big girls tell it," Lizzo sings on title track 'BGSW.' With pleasure.

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