Review: Lolo Zouaï Explores The Process of Grief with Subtlety on Record ‘Reverie’
REVIEW
REVIEW
REVERIE ENCOMPASSES THE MEDITATIVE STATE BETWEEN REALITY AND IMAGINATION— Lolo Zouaï’s inner world went through a transformative period of time. As silence reigned over the outer perception of her person, grief prompted the rediscovery of her perspective. Through a non-linear healing process, Reverie opens the door into Zouaï’s psyche and everything she has lived through to make it out of the confusion surrounding the self.
Born in Paris with Algerian roots and raised in San Francisco, Zouaï embodies a cultural diversity that has always been at the core of her artistry. Mixing French, English and Arabic on an R&B, hip-hop and pop sound, she proved that her creativity knows no bounds. With her debut album High Highs to Low Lows introducing her as a powerful figure of R&B in 2019, she followed it up by her second album Playgirl in 2023 where nostalgia took center stage on a conceptual pop, electronic and R&B genre-blending album.
She now returns with her third album Reverie, a tribute to the past few years of her life. Through adept storytelling and emotional vulnerability, Zouaï shows her growth as an artist that stands on everything she has created to-date. With dreamy vocals and melodies, Reverie feels regretful of the past, while knowing the only way through is forward.
When it comes to opening tracks, “100” distinguishes itself from the definition as a lot of artists opt for an interlude or instrumental to start an album with. That isn’t the case here. There is no introduction as “100” takes us on a fast-tempo journey. Zouaï’s vocals range from processed through a vocoder to whispering in your ear. From distanced to close up, this introductory track brings us on a rollercoaster.
“Angel, Give Them Hell” is the first chapter in the core emotion that inspired Zouaï for this record: grief. She pays a tribute to the friend she lost as she considers them looking down on her. With delicate runs, the hurt of the artist is felt through her interpretation. “Holding On” continues the story with Zouaï’s disconnected vocals. There seems to be a connection trying to be established, but it fails relentlessly. The disconnect returns throughout the chorus as she reaches towards hope.
The silence that ruled this period of her life becomes apparent on string-lead “Les mots” as she unveils the effects of her internal struggles on a relationship. She explores isolation while still being enamored with a person. The track has a nostalgic dimension to it, with the constant “Quand il me regarde, je perds les mots” (When he looks at me, I lose my words) running through the track. Dinos comes in with a verse that elevates the feature and gives it complexity from an opposite point of view.
Zouaï knows her genre thoroughly. The R&B codes she applies to her artistry stand out on “Baggy Jeans,” and they pair perfectly with her vocals. This track is reminiscent of her debut album High Highs to Low Lows, further proving she’s an artist whose origins are deeply intertwined with who she is and how she operates in her artistry.
However, the way in which this album represents a rebirth becomes clear with the lyrical indications of “Drive.” After a period of time where silence was the default, Reverie is the realm where self-expression became possible. “Drive” has a calmer energy with softer vocals, yet still keeps the signature vocoder moment heard throughout with the repetition of “Just drive.”
“Hiver J’espère” shows her French roots. The majority of lyrics are in French. Zouaï takes advantage of the language’s rhymes to create a poetic narrative around seasons. Along with the synth-based production, her soft vocals pertain to nostalgia. The waiting game expressed in the lyrics of wishing to be closer to someone could be aimed at another, but also at herself. Given the persistent nature of grief and the loss of identity, the poeticism is up for interpretation. On the next track, she continues the narrative of searching for herself. On “Toute seule à la plage,” isolation isn’t seen as an unhealthy coping mechanism, rather a need to reconnect to one’s authenticity. The energy surrounding this track is a reminder of old French songs, creating a timelessness that is impressive for a modern artist.
Zouaï brings the energy to speed with “Lemon Squeeze,” a highly danceable feature with Lous and The Yakuza. While the sound is subscribing to a night club anthem, the lyrics involve an aggravation towards everything. Given the grief themes around the album, the question of mortality comes back here and recalibrates the artist’s perspective on the world. The message of “Lemon Squeeze” seems to be having enough of the superficial things that make the status quo after having gone through a life-changing experience.
“Coquelicot” holds some elements of Zouaï’s previous record, Playgirl. With an R&B and electronic production reminiscent of a video game, her processed vocals fit right into the atmosphere. Although it is a single, it doesn’t stand out much in the context of the album, rather giving a moment to catch your breath after the emotional and high-energy tracks from before. The vibe changes then and continues with “3AM in San Francisco,” a sensual track that covers the recklessness and liveliness of finding someone who sees you. It’s a classic R&B track that stands under Zouaï’s signature sound.
“Tu me manques” shows an emotional return to grief in a display of non-linear healing. Zouaï’s vulnerability when it comes to losing a friend is a strength. Intimate details of how this person affected her life make her songwriting stand out. Towards the end, there’s a complete switch in production to allow for a personal message towards her best friend that passed away. It is as if the world fades away and allows only for this channel between the two, where Zouaï can express her genuine emotions.
Up next is a darker version of a track that was on Zouaï’s debut, “Desert Rose pt. 2.” Her Algerian roots are at the base of this track through a mix of English and Arabic. The vulnerability persists as new verses continue the storytelling of a familial disconnect. On the original song, she unveiled the relationship to her family and her desire to connect with her home. On this one, there’s a complete disappearance of this relationship with an implied death, whether metaphorical or actual. Her regrets towards the lack of resolve bring a definite emotional dimension that perdures until the end.
What becomes obvious is a full circle moment as an artist—not only on this song, but also throughout the album with hints towards her past works. There are songs reminiscent of her previous records in the production as well as in the themes explored at large. For her closing tracks “Si j’avais des ailes,” she brings together everything from this chapter of her life. She emphasizes her versatility through her diverse cultural identity and her resilience in the face of loss. It all culminates in this expansive track whose message becomes freedom in all its definitions. Zouaï yearns for a version of herself that encapsulates all that she is, and with this track, she has gotten closer to translating that inner identity to the world around her.
Reverie works like a rose unfolding. In the beginning, there’s almost a surface-level approach to her mindset at the time. The silence that the artist found refuge in is at the core of this record, but there’s a gradual fade of this silence as she begins to understand the whirlwind of emotions. The loss she experienced translated to her inner self, where confusion moved onto who she is. By opening up more about her internal process with this grief and her loss of self, Reverie becomes a masterclass in vulnerability. The album portrays the non-liner process of healing, making for a compelling third album in Zouaï’s powerful discography.
