I like her flow.
As for the instrumental stuff:
The production actually complements the vocal flow pretty well, no 2 ways about it.
If I had to offer any advice, such as anyone would even want anyway - it’s to lean back on everything. Same sounds are totally fine, but especially in the drum stuff: we all know that a Trap beat’s gotta have them fast hats to be a Trap beat, but what happens when you fuck with that a little? Even interplay between triplets and quadruplets - a staple of Trap production already - can provide a little more variety and tension. Strip it all back as far as it’ll go right before it stops working. Beat, pads, the whole nine… start removing things more than adding them. But (t)hats my two (or 3) centavos.
Ok but now for the most interesting shit in the whole track -
@2:23 and after - what the fuck! That shit’s interesting as fuck! I wanna make a tune out of just that bit lol. Is that just some samba drum samples sped up or…?