Little Simz Teams Up With Chineke! Orchestra: A Spellbinding Show at Royal Festival Hall

Few have the distinction of restarting a symphony orchestra during a performance. Yet, that’s exactly what happened at the Southbank Centre when Little Simz, amid the triumphant blare of the opening horns in “Gorilla,” decided to restart the track as if spinning a set in a lively nightclub.

With the support of the predominantly Black and ethnically diverse Chineke! Orchestra and her own band, Simz brought the 11-day Meltdown festival to a close. As the curator of this year’s event, her performance was a brilliant blend of authenticity and creativity. Despite any initial doubts about performing to an audience in their seats, the vitality in the venue was palpable and infectious.

The concert showcased a dynamic range of musical styles, illustrating not just Simz’s versatility as an artist, but also the adaptive synergy between her band and the orchestra. From the youthful, post-punk vibes and Mike Skinner-inspired rap of “Young” to the soulful simplicity of “Free,” the transitions were seamless. The strings section conjured a chilling, cinematic suspense in “Thief” and “Flood,” then shifted to enhance the heartfelt declaration of love in “Two Worlds Apart.” This emotional depth was further explored in “Introvert,” where flutes seemed to echo a choral sound, and in “Lonely,” where the tremulous strings vividly mimicked a quivering, breaking voice, reflecting Simz’s personal battles during the creation of her new album “Lotus.”

Special guests included Miraa May on “Peace,” and Obongjayar on “Lion” and “Point and Kill,” along with Wretch 32 and Cashh on “Blood.” In a theatrical twist, Wretch made his entrance walking through the crowd, enhancing the narrative of the song structured as a telephone conversation, which had the audience’s heads turning back and forth as if at a tennis match.

Throughout the event, Simz was a commanding presence, at one point even replacing conductor Chris Cameron to lead the Chineke! Orchestra during “Venom,” rapping intently before them under a frenzy of lights. Between songs, she conversed casually with the audience, wandered the aisles during “Heart’s on Fire,” and stood grinning, overwhelmed by the prolonged applause. The entire performance was a masterclass in orchestration, both musically and thematically.