The Detroit-born, Houston-bred rapper landed in Minneapolis a few years ago and easily rose to the top of the city’s bustling scene, magnetizing artists from the hip-hop, experimental, electronic, and indie rock communities. She started collaborating with two of the area’s most high-profile producers, Ryan Olson (Poliça, Gayngs) and Lazerbeak (Doomtree), and fell in love with the city’s hyper-collaborative, genre-bending energy.

“I knew I could flow because of Houston, and I knew that I could eventually learn to sing and convey a message and catch the spirit because of Detroit. But to be able to know the boundaries and break the boundaries of my musicality—that’s all Minneapolis,” she reflects. “Because Minneapolis, the people, the artists that live here, they definitely don’t follow by the rules. They make new rules and they make new normals. It’s inspiring.”

For the follow-up to her debut album, 2013’s ‘Beak and Olson-produced Lizzobangers, Lizzo wanted to try a new approach. After years performing alongside other artists, Lizzobangers was Lizzo’s first chance to claim the spotlight and fill an album with her own voice, and it stands up as an excellent introduction to her wit and unstoppable technical abilities. But now that she’s spent the past two years honing her solo show on the road, she wanted to make an album that could capture the full range of her dynamic abilities.