Producers Doug Allen and Joshua Thompson wrote the song in collaboration with Olivia and songwriters David L. Conley, Quincy Q. Patrick, and Juan Magic" Peters.

Olivia initially performed rap under the name "O-Lovely", before abandoning it to attend Hofstra University and Five Towns College as a different way to advance her career in music.

"Bizounce" was produced by Thompson and Doug Allen, who also contributed to the writing along with Olivia, David L. Conley, Quincy Q. Patrick, and Juan Magic" Peters.

[6] J Records senior vice president Ron Gillyard described Olivia as "the real deal", emphasizing her roles as "a songwriter, a singer, and a rapper".

[6] AllMusic's Jon Azpiri praised the contrast between the "brutally frank" lyrics about break-ups and infidelity, and the "seductive" instrumentals, making the single one of the most memorable of 2001.

[9] According to a review in Billboard, Olivia's vocal performance reflects her hip hop influences and gives the single a "street edge" while its "orchestral tinges" are best-suited for R&B radio.

[1] NME's John Mulvey commented that Olivia's "ruthlessness rather than her vocabulary" was the standout, especially in the lyric: "Shoulda known what you missed at home / Now you're all alone with no-one to bone".

Before the album's release, she performed the single on Soul Train, BET, MTV's hip-hop video block Sucker Free (known at the time as DFX), and The Source Sound Lab.

In an official statement, J Records' representatives pointed to Olivia's credits as a co-writer for a majority of the album as proof of her involvement with the project and maintained: "Clive doesn't categorize artists as good or bad girls".

[15] A review in Billboard praised Olivia's vocals, saying she "has the mouth of a bad girl and the voice of an angel", and described the single as making her: "a bona fide R&B singer".

[16] Shaheem Reid of MTV named the single an "anthem for women who are fed up wit their mates"[5] while an article in Vibe magazine opined that it was a "hit heavy on attitude".

[1] Mulvey of NME commended the single as giving a "steely boot to a crap lover" in the style of TLC, Kelis, and Eve as well as being a "vicious kiss-off" and a "boudoir come-on".

[10] The Morning Call's Len Righi criticized "Bizounce" for being indicative of a negative trend in R&B music, where "the plaintive human voice in the throes of transcendent ecstasy or bottomless hurt is not nearly as important as the right attitude, hip-hop production and clothing".