Skip to content
Search

Flo Milli, Cardi B and SZA Remind Us Their Success is Not a Fluke on ‘Never Lose Me’

Flo Milli, Cardi B and SZA Remind Us Their Success is Not a Fluke on ‘Never Lose Me’

In a move as strategic for her as it is exciting for us, Flo Milli only gave hours notice that a remix of her first song to hit the Hot 100, “Never Lose Me,” would hit streaming with features from two of the biggest women in music – SZA and Cardi B. Though SZA and Flo have teased a remix since the top of the year, Cardi B came as a surprise (“POP UP GUESS WHO B✰TCH,” Flo wrote on Instagram under a video of the two of them together, both announcement and homage to Cardi). Debuting the remix as a part of her third LP, Fine Ho, Stay – released today – rather than a single ahead of time smartly draws fans into the whole body of work and ensured the viral hit didn’t oversaturate us before the album dropped. 


Flo was headlining Rolling Stone’s Future of Music showcase at SXSW as her album was released, telling the crowd “This night is so special to me.” She eventually hopped off the stage to take photos with them as the new remix blared through ACL Live at the Moody Theater in Austin. Fine Ho, Stay is the last installment of a series kicked off by her debut, Ho, Why is You Here?, and while it’s early, there’s a case to be made for this one being her best. At a quick 33 minutes, it’s relentless, with Flo fitting snugly in a range of pockets with beats and flows that are timely and trendy but not vapidly so.

The new “Never Lose Me” is particularly thrilling because it brings together three women in eras that challenge any notion of their success being serendipitous. SZA just solidified this with SOS, which came a long five years after her groundbreaking debut Ctrl, and made her the most Grammy-nominated person at this year’s ceremony. Cardi B has promised herself her sophomore effort will finally arrive this year too, after building a musical empire and a lot of anxiety since her 2017 debut Invasion of Privacy, which made her the first woman to win a Grammy for Best Rap Album. She’s dropped a fiery single today, too.

Flo Milli broke out in 2019, emerging in a ravenous culture of streaming and social media that doesn’t really afford her the luxury of long waits between albums. She hasn’t crystallized an iconic body of work like Ctrl or Invasion. What “Never Lose Me,” and the electricity of this remix do crystalize, however, is that her great songs like “Beef FloMix,” “In the Party,” and “Conceited” before it are building into a pattern of hit-making that puts the hippest people in a chokehold. SZA and Cardi have enthusiastically supported Flo and the song; their fervor is obvious from their takes on it. 

Flo’s girlish melodies on “Never Lose Me” are so bite-worthy that they did just that, with just slight and quirky deviations. SZA gives nice-nasty a whole new meaning when she coos, “From the ‘burbs, actin’ bougie / From the ‘burb but I suck it like Suki / From the ‘burb but I buss it like Juvie / Throw it back while he talkin’ me through it.” Cardi B brings the combative energy of her latest singles “Like What (Freestyle)” and “Enough (Miami)” to flip Flo’s line “Never had a bitch like me in your life” to “That bitch could never be me in her life,” then raps like she was supposed to have tapped out eight bars earlier but couldn’t help herself. The “Never Lose Me” remix is one indication the rap girls won this New Music Friday, but it’s also been a cross-gender anthem for feeling yourself (and on someone else) with prior versions with Bryson Tiller and Lil Yachty. Flo actually commandeered the ethereal, Uzi-esque beat from Babyface Ray and 42 Dugg’s “Ron Artest,” turning their groggy, masculine take on its head.


Especially since her second LP, You Still Here, Ho?, Flo Milli has dedicated herself to the aesthetic of VH1’s mid-2000s reality shows like Flavor of Love, and much like a reality star, she broke out as an unknown with a raw edge, and with every song, searing look, and social media clip, has worked her way from being a novelty to a fixture in rap. “I think I’m a bad bitch, and there’s nothing you could say that’s going to make me think otherwise,” she told Rolling Stone last fall. She’s exactly who she thinks she is.

More Stories

How Melanie C Learned to Embrace Sporty Spice
Charles Dennington*

How Melanie C Learned to Embrace Sporty Spice

Going into her North American tour this year, Melanie C was trying to have zero expectations. She would be performing in cities for the first time in more than two decades as a solo artist. Some of them were stops she last visited as a member of the Spice Girls during their 2007 reunion tour. Ticket sales were good, but what would happen when she actually set foot on those stages in front of throngs of people?

It turns out, the world is hungry for a star like Melanie. “I was blown away,” she tells Rolling Stone. “The responses everywhere were incredible, and people were singing all the new stuff, which, you know, for any artist is exactly what you want.”

Keep ReadingShow less
Drake ‘Janice STFU’ Copyright Lawsuit is Withdrawn

Drake’s team categorically denied the claim that an uncredited Oregon producer wrote the chorus to his hit song.

Sammy Kogan/The Canadian Press/AP

Drake ‘Janice STFU’ Copyright Lawsuit is Withdrawn

Earlier this month, in a lawsuit filed in federal court, a producer and rapper from Oregon named Aviel Hirschfield claimed he was driving to Seattle last year in a friend’s borrowed Maybach when “I Follow Rivers,” the 2011 indie-pop classic by Swedish singer Lykke Li, started playing. It’d been a minute since he’d heard the song; Hirschfield said he was struck by how catchy its hook was. Hirschfield alleged that he then began writing a Lykke Li-inspired chorus that, less than six months later, would be featured, verbatim, on Drake’s global hit “Janice STFU.”

It would be a stunning story if proven to be true, but that lawsuit is dead for now, raising serious questions about the nature — and legitimacy — of Hirschfield’s claims. Barely 10 days after it was filed, the case has been voluntarily dismissed, according to a recent court filing.

Keep ReadingShow less
Canada Reveals Five Eurovision 2027 Finalists as Public Voting Opens
CBC/Radio-Canada/Eurovision

Canada Reveals Five Eurovision 2027 Finalists as Public Voting Opens

Canada is one step closer to making its Eurovision Song Contest debut. This morning, CBC/Radio-Canada revealed the five finalists competing to represent the country at the 2027 edition of the international music competition, with the public now tasked with choosing who will take the stage in Bulgaria next May.

The shortlist features William Cloutier, Josiane, Rêve, Talk and Tyler Shaw, five Canadian artists with distinct musical backgrounds and styles. Canadians can watch performances from all five finalists and cast their votes through the official Eurovision voting platform. Each person can submit up to 10 votes for their preferred artist before voting closes on November 5 at 11:59 p.m. Pacific time.

Keep ReadingShow less
Are Trad Wives Missing the Point of Tate McRae’s New Song?

Tate McRae attends the Victoria’s Secret Fashion Show 2026

Axelle/Bauer-Griffin/FilmMagic

Are Trad Wives Missing the Point of Tate McRae’s New Song?

Tate McRae just wants to make a lot of money — and be her own housewife. At least, that’s what she sings on the catchy hook of her shiny new pop hit. But in a world of TikTok trends and trad wives, the meaning behind her empowered song is getting lost.

“Housewife” has quickly become a hit since it was first released on Oct. 18, and even marks McRae’s highest-charting song as a lead artist on the Hot 100 after she nabbed the Number Two slot. The song has also been trending on TikTok, thanks, in part, to many creators on the platform who are using the song to soundtrack their videos idealizing more traditional gender roles when it comes to marriage and family. Some users even changed the lyrics to “Be my man’s housewife,” so that they reflect their own married-life realities.

Keep ReadingShow less
Neil Young Sues Trump Committee for $10 Million Over Use of ‘Rockin’ in the Free World’

Neil Young Sues Trump Committee for $10 Million Over Use of ‘Rockin’ in the Free World’

Rock legend Neil Young has slapped a Trump fundraising committee with a $10 million lawsuit over the use of his song, “Rockin’ in the Free World,” at an Ohio rally this month.

According to the five-page filing obtained by Rolling Stone, Trump was “personally aware that a license would be required” to play the song at an event, and he also knew Young “has not and would not grant the required license.” The unauthorized use happened despite a prior lawsuit and 2020 settlement in which Trump allegedly agreed never to use Young’s music without permission, the new complaint states. (Trump is not named as an individual defendant in the Monday complaint.)

Keep ReadingShow less