Sydney Wanguhu

After a five-year hiatus, SZA returns with her second studio album.

Twenty-three tracks of raw thoughts, emotions, and unfulfilled desires is what SZA blesses us with on her long-awaited album “SOS.” 

The 33-year-old exudes confidence but simultaneously explains how her vulnerability has backfired in past relationships. As she taps into these conflicting feelings, she shows off a range of musicality, from rap, rock, indie, and R&B to rap, proving that her talent will always exceed our expectations.

Nothing could have prepared me for her intro and self-titled song, “SOS.” For nearly two minutes, SZA spitting about how she deserved her flowers made me appreciate her even more for knowing her worth. Musical producer Jay Versace executed the track perfectly by layering a familiar Drake sample under her assertive tone in a higher octave to compliment her voice. The triumphant choir background vocals pair well with her message as it’s a monologue to those who might be “heavily influenced” by her but truly forge her style. 

Featured artists can either enhance, overpower, or ruin an album. She was particular about the creatives she selected for this project as they are flexible and accommodate her aesthetic. She reunited with melodic rapper Travis Scott on “Open Arms” for a somber ballad, which is surprising but pleasing to hear since he’s generally recognized for dominating the trap scene. Phoebe Bridgers was also a refreshing vocalist to see who cut the album. Her indie softcore influences resonated on the “Ghost in the Machine” track, with airy keys and wispy harmonies elevating  SZA’s traditional sound. As an artist, I admire her for taking a leap and trying new things. I wouldn’t be shocked if she felt a little hesitant reeling in new music since her stans held onto “Ctrl” for half a decade and most likely expected something similar. Her growth was for sure worth the wait.

What I love most about this album is her acknowledgment of living in delusion. 

In her song “Blind,” she ignores all of the signs of the toxic tendencies she experiences with her ex-partner. Her flow in the compelling ballad portrays every thought racing in her mind, and hearing them contradict each other, she feels like we’re making her next risky decision with her. In the first verse, she plays victim to the situation her sex life got her in. She then switches up in the second verse by asking for dysfunction from her lover because of the chaos she craves and admits to liking the unnecessary violence it creates. She claims to be so embarrassed knowing these actions are regrettable and still chooses to look the other way. Although she realizes the love she seeks from her partner can’t be reciprocated wholeheartedly, she acts out, creating a never-ending cycle of despair. 

I found it odd that people said she is “too insecure” on this album. Wanting validation from your significant other is natural, and her speaking on it is relatable, especially now. We live in a time where hook-up culture has either desensitized us from reciprocating affection because our attention spans have reduced or guided us to heartbreak. Her fans need to remember that just because she effortlessly flaunts her sex appeal does not mean she can’t vent about heartache.

“SOS” is a journey I wish I could experience for the first time again. 

SZA continues to generate anthems that comfort anyone experiencing hurt, loss, and lust. I hope she doesn’t derail from dropping music consistently again anytime soon.