The Singles Jukebox

She’s a big woman, so she knows how to ride it…

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[8.00]

Hannah Jocelyn: The most fun part about “Big Woman” that as complicated as the beat is, with strings and bouncy steel drums, there are still dub-inspired vocal effects and pitch shifting that is hard to catch the first few times around. It probably would make for sensory-overload if DJ Bamz and Nadia Rose didn’t seem to know exactly what they were doing, Nadia especially – whether she’s flirting with a girl (don’t ask me if I’m into girls, are we gonna kiss or not?) or begging a lover to touch her like Braille, she commands the song. She’s assertive, sensitive, bombastic, and unwavering, all at once.
[10]

Claire Biddles: “Big Woman” is as fun and sexy as we’ve come to expect from Nadia Rose, and I’m just waiting for the opportunity to use “Don’t ask me if I’m into girls/are we gonna kiss or not?” as an Insta selfie caption.
[8]

Ashley John: “Big Woman” is incredibly good for many serious, musical reasons. Nadia Rose gives us a killer grime track, excellent on a technical level, but more importantly she reminds us what it means to be peacefully confident in ourselves. At a time where women everywhere must grapple with a choice between ripping their hearts out, bloodied and gasping, as proof that we are humans deserving of basic rights or fester quietly with decaying memories kept silent, Nadia Rose is confident and cool and assertive without being heavy handed. “Big Woman” is a sprawling, shimmering moment of freedom, delivered in a way I didn’t know I needed. 
[9]

Alfred Soto: As assured as last year’s “Skwod” at half the speed, “Big Woman” swells to meet the string arrangement. Someone give Nadia Rose some American promotion, please.
[7]

Jessica Doyle: Complaining that this sounds a lot like “Skwod” is like complaining that “Ah Yeah” sounds like “Up and Down.” In both cases you’ve got two songs with similar tricks, and you may prefer one to the other–I think I actually prefer the open spaces in the “Skwod” chorus now, having heard the more packed version in this one–but in both cases the tricks are very well deployed.
[7]

Leah Isobel: The beat is pounding and Nadia Rose fits right in the middle of it, not so much centering the track as encircling it; she sets the rhythmic boundaries that the rest of the production follows. Her momentum breaks slightly in the second verse but her wicked glee works wonders in the final minute as she layers her voice on top of itself.
[7]