Lizzo BITCH
Consensus is still forming across 4 professional reviews. Lizzo's BITCH arrives as a bruised, genre-hopping record that negotiates vulnerability and defiance while wrestling with public controversy and image reconstruction. Across four professional reviews the critical consensus is skeptical: the collection earned a 45/100 consensus score from critics who find flashes of the
The best song is "Sexy Ladies (feat. UCB)" because its massive sub bass and sonics make it stand out as a girl-power anthem.
The album’s strength is its willingness to shift genres, but its disjointed tone and subdued delivery undercut potential pop smashes.
Best for listeners looking for reconciliation of confrontational edge and uplifting persona and nostalgia and retro influences, starting with Whose Hair Is This and Sexy Ladies (feat. UCB).
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Full consensus notes
Lizzo's BITCH arrives as a bruised, genre-hopping record that negotiates vulnerability and defiance while wrestling with public controversy and image reconstruction. Across four professional reviews the critical consensus is skeptical: the collection earned a 45/100 consensus score from critics who find flashes of the artist's old spark but too often encounter disjointed tone and uninspired songwriting.
Reviewers consistently praise tracks that lean into grit and soulful groove, naming “Whose Hair Is This” and “That GRRRL” among the best songs on BITCH. AllMusic highlights “Happy 2 Be” for balancing past and present; The Guardian and The Independent single out the retro influences and sampling that occasionally pay off, while The Arts Desk finds the record thin and joyless. Critics note recurring themes - attempts at reconciliation between confrontational edge and uplifting persona, nostalgia-tinged pastiche, and a visible search for a hit - but agree those aims are inconsistently realized.
While some reviewers credit moments where Lizzo sounds authentically herself, others point to muted production, clumsy samples and a loss of energy that undercuts empowerment anthems. The critical consensus across these four professional reviews suggests BITCH contains worthwhile fragments and standout tracks, but as a whole it struggles to reclaim the breakthrough magic that defined earlier work. Below, detailed reviews examine where the record succeeds in soulful grit and where it falls short in ambition and cohesion.
Critics' Top Tracks
The standout songs that made critics take notice
Whose Hair Is This
2 mentions
"Whose Hair Is This is a great southern soul pastiche, home to an impressively raw vocal"— The Guardian
Sexy Ladies (feat. UCB)
1 mention
Happy 2 Be
1 mention
"the smoky vocals on "Happy 2 Be" offer one of the album's best balances of past and present"— AllMusic
The title track interpolates the chorus from Meredith Brooks' 1997 pop-grunge hit of the same name, but somehow flattens it in the process
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
A Toast
Happy 2 Be
Don’t Make Me Love U
BITCH
She Stole My Man
Whose Hair Is This
Little Black Cat
Sexy Ladies (feat. UCB)
That GRRRL
Too Nice
Like A Crime
Goodmorning!
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What Critics Are Saying
Deep insights from 4 critics who reviewed this album
Critic's Take
Lizzo negotiates between confrontation and uplift on BITCH, and the best tracks show that split most clearly. It also highlights “Happy 2 Be” for offering one of the record's best balances of past and present, which makes these the best songs on BITCH because they feel more authentic than the album's retro pastiches. Overall, the strongest moments are where Lizzo sounds like herself again, rather than imitating former peaks.
Key Points
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The best song is "Sexy Ladies (feat. UCB)" because its massive sub bass and sonics make it stand out as a girl-power anthem.
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The album's core strengths are moments where Lizzo sounds authentically herself, blending retro influences with her established persona.
Themes
Critic's Take
Lizzo arrives on BITCH with a scatter-gun set of moods, and the review finds the best songs where her instincts land nearest to soul and club fire. “Whose Hair Is This” emerges as a highlight for its raw-southern-soul pastiche and an impressively raw vocal, while “That GRRRL” channels old-school Chicago house basslines to energising effect, making them the best tracks on BITCH. The title track “BITCH” and calmer moments like “A Toast” feel oddly subdued, tending toward shrugging introspection rather than ferocious pop, which leaves the album without an unequivocal smash. Overall, the record bests when it leans into grit and groove, less so when it attempts reinvention.
Key Points
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Whose Hair Is This is the best song for its raw-southern-soul pastiche and powerful vocal.
-
The album’s strength is its willingness to shift genres, but its disjointed tone and subdued delivery undercut potential pop smashes.
Themes
Critic's Take
Lizzo arrives with BITCH trying to reclaim defiance but the record often feels muted and brittle rather than triumphant. The review singles out “She Stole My Man” as an astonishing misfire and “Don’t Make Me Love U” as a clumsy, sample-heavy attempt to address her fraught relationship with the public. Tracks like “That GRRRL” aim for body-positivity anthems yet land plaintive, undermining the album’s intended empowerment. Overall, the best songs on BITCH are those that at least gesture toward honesty, but even they are undercut by inconsistent execution and overreliance on familiar hooks.
Key Points
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The review identifies "She Stole My Man" as the most notable misfire, undermining the album's intended bite.
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BITCH's strengths are glimpses of honesty and drama, but they are weakened by brittle delivery, clichés and heavy reliance on samples.
Themes
Th
Critic's Take
Lizzo once radiated unabashed fun, but on BITCH that fizz has largely gone, leaving an album that feels thin and joyless. Erin Lewis writes in a clipped, judgmental tone that emphasises how the singer's former vibrancy has seeped away, making it hard to call any songs on BITCH true standouts. The review answers searches for the best songs on BITCH by implication rather than praise - there are no clear highlights, only a pervasive sense of disappointment. The voice is concise, acidic and final, which leaves little room for redemption in individual tracks.
Key Points
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No specific track is praised; the reviewer finds the whole album uninspired, so no best song emerges.
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The album's core strength used to be vibrant energy, but here the reviewer sees disappearance of that trait leading to disappointment.