Ray BLK – 'Lovesick'

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In anticipation of her upcoming debut album, South London’s Ray BLK drops empowerment anthem ‘Lovesick’.

‘Lovesick’ is the eye of the storm. Surrounded by swirling beats and hypnotic rhythms, Ray’s intoxicating vocals are calm and collected. “make you so sick, might need prescription. My wrist glow cost me double digits. Woke up a fucking villain” she sings, reclaiming her power, rewriting the narrative. ‘Lovesick’ is the kind of song with the ability to lift you out of a bad day, the kind of song you scream when the walls are closing in. “I’m always trying to empower women not to take disrespect sitting down but to keep a distance from people who don’t make them feel good about themselves and boss up because success is the best revenge,” Ray says about the track. ‘Lovesick’ is confidence in a bottle. Ray’s poignant lyricism makes it very clear that this woman doesn’t take sh*t from anyone. Overwhelmingly so when smooth vocals turn into a flaming rap verse that, originally, was not quite part of the plan: “Even me rapping on this song was me taking back control,” Ray explains, “as a black female artist in the UK there’s a lot less support all round, including in getting features from other artists. After finding it so difficult I just said fine forget that then, I can actually do a better verse than a lot of these guys. My rap verse might be a bit explicit but I’m not ashamed of that.” 

‘Lovesick’ is the title track and lead single to Ray’s highly anticipated debut album. An electrifying anthem of self-love and respect, it serves as the perfect introduction to a powerhouse woman and one of the UK’s most exciting new female voices. In Ray’s own words: “Tables have turned. There’s a new wave of outspoken female artists who aren’t afraid to take full ownership of their sexuality and remind women that they are in control, and to only give their time to relationships that are valuable to them and make sure they are being cared for because a woman of value isn’t free and I co-sign that.”

Words by Laura Freyaldenhoven