Lizzo's first record in four years, Bitch sold 2,649 copies in its first week and didn't even enter the charts. Industry executives and observers see the consequences of a weakened fanbase and failing label support.
It's impossible to deny that Lizzo is a unique artist. After her explosion in 2019, she lined up hits with the essential “Juice”, “About Damn Time” and “Good as Hell”, collecting Grammys and accolades along the way. Far from traditional pop, she has infused her music with funky horns, hip-hop grooves and even flute. She overproduced the bops, but was there a Lizzo sound? It depends on the song.
A catastrophic start for Bitch
Lizzo began shaping her fifth studio album, Bitchabout four years ago. The project has undergone several transformations during this period. It was originally to be titled Love in Real Lifecarried by a single of the same name and by the disco-pop title “Still Bad”, both released last year. While Lizzo was still hesitant about what her next album cycle should embody, the general pop public seemed to have already made up its mind about it.
Lizzo's last Hot 100 hit, “Special,” featuring SZA, remained on the chart for ten weeks in 2023. While it peaked at No. 52, it reached No. 19 on the Radio Songs chart and No. 15 on the Pop Airplay chart. The success of Special had been largely driven by the singles “About Damn Time” and “2 Be Loved (Am I Ready)”.
In the three years between Special of BitchLizzo prepared for a sharp decline in public interest by creating music on the fringes of what she was known for. The mixtape My Face Hurts From Smiling (2025) drew production from his long-time collaborator Ricky Reed and Zaytoven, for his first foray into rap in a long time. His first album, Lizzobangers (2013), already affirmed his interest in hip-hop; but most listeners who discovered it with Cuz I Love You in 2019 were unaware of this project, removed from streaming platforms for a year during its campaign for the 2020 Grammy Awards.
A future not so blocked?
In May, Lizzo took charge of promoting Bitch. “My label doesn’t want to put up posters, so I’m going to do it myself”she declared in a video showing her putting together promo material solo. “You have 26.4 million people following you on TikTok and 11.2 million on Instagram, people you can talk to at the push of a button, and you're still blaming the label,” says Daniels. You mean instead of telling your fans about your music, you talk to them about how the label doesn't promote your music? »
It is not uncommon for labels to consider an existing fanbase as a prerequisite before being interested in an artist. This limits their risk and reinforces their investments. But without proof of listening and sales potential, they must agree to take the gamble. Most refuse. “It’s very political and very much about where the money goes. Everywhere, it's like that. It's a story of money and power behind an artist, concludes the seasoned executive. That's why artists loved Clive Davis and Jimmy Iovine: they would take a Lizzo and support her even when things weren't going well. »
During the summer of SpecialSam Smith took off with Kim Petras, on “Unholy”, one of his biggest hits in years. This year, Zara Larsson achieved the breakthrough she'd been working towards for a decade, driven in particular by a vibrant, recognizable visual aesthetic and hits just catchy enough to stand out. Given the nature of pop in 2026, it would be unwise to rule out a comeback for almost any artist. “I think there is always hope for every artist. A tube cures everything, believes the seasoned executive. But it may take years, or it may never happen. »
Where does Lizzo go from here? “I don’t think it’s over at all,” Daniels concludes. It's just a moment to remind her that she still has work to do. »
