Nobody Gets Me Like SZA: A look on LANA

R&B’s resident lovergirl gave us a long-anticipated Christmas present last December. After months of teasing, SZA finally released LANA, the deluxe version of her acclaimed sophomore album, SOS, to celebrate its two year anniversary. Gracing us with 15 additional titles, LANA is the perfect blend of her previous work, incorporating both the spirituality of CTRL and the feminine rage of SOS. 

LANA, whose title pays homage to SZA’s given name Solána, covers a plethora of themes that range from yearning over past situationships, to showing off your current boo, to wondering if you’re actually the problem. 

The songs on LANA can be organized into three categories: basking in emotional turmoil, putting yourself in a time out, and swooning over the ideal lover.

‍Emotional turmoil ‍

The aftermath of a break up is a fluctuation of emotions. When heartbroken, you enter a realm of constant overthinking and processing leftover emotions before moving on. Eventually, the breakthrough leaves you light on your feet and ready to do it all over again.

The focus single upon release, 'Drive' sets the tone with its accompanying music video starring actor Ben Stiller. SZA’s stream of consciousness in this piece is similar to the train of thought you have when alone with yourself on late night drives, like the one pictured in the video. Over the simple strums of a guitar, SZA bounces from topic to topic – turning her vehicle into her own emotional sanctuary in which she is able to freely express herself. It reminds me of the conversations you have with yourself after an argument, reeling through everything you wish you’d said. You’re then thrown into an abyss of 'what ifs' – leading us to SZA’s momentary lapse in rationality that is captured by the song directly following 'Drive.' 

'Another Life' is a poignant break up song that makes the listener reminisce about ex-lovers. As the title goes, SZA imagines how she could have thrived with her lover in another universe. A classic example of the right person at the wrong time, this song mourns a past love that you still think about no matter how much time passes. 

Over time, you start to gradually understand where to focus your energy and attention. Featuring SZA’s frequent collaborator, Kendrick Lamar, “30 for 30” is about reciprocating the energy that you receive. The lyric, “but if it’s fuck me, then fuck you” emphasises this as SZA and Lamar encourage the listener to devote the appropriate amount of time and energy to those who deserve it, the golden rule of ‘treating others the way they treat you’. Following the Kendrick-Drake beef that reached a boiling point this past Spring, some speculate that the title may be Lamar’s poke at Drake, who has a similarly titled song called '30 for 30 Freestyle.' As SZA prepares to hit the road with Lamar, it’s clear who she sides with in the feud! 

‍Time out‍

Sometimes you need to self-parent and put yourself on time out to give yourself space to reflect, deliberate your actions, and gain a better understanding of yourself. In LANA, SZA really took this need seriously. 

'Cry Baby' is the epitome of this; SZA points out all the traits that stunt her self-growth. Full of attitude, and averting herself of any blame, she pins everything onto Murphy’s law by singing, “what can go wrong goin’ wrong.” Though she may be portrayed as the psycho ex-girlfriend, she acknowledges that the 'craziness' that people may label her as might be more true than she’s willing to admit. 

"I know you told stories about me

Most of them awful, all of them true

Here's some for you, yeah, ooh"

Self-reflection also causes you to rethink relationships. The indecision between leaving or staying in a current relationship is explored in both SZA’s 'Kitchenand the song it samples, Voyage to Atlantis by The Isley Brothers. In 'Kitchen,' SZA re-evaluates her relationship and is conflicted on whether or not to stay as she replays her memories and history with her lover. Moments of pleasure and content cloud her decision making - while she knows what’s best for her, it’s “so hard to do the right thing.” 

The yearning

The beginning stages of a crush are undoubtedly the best – it is during this time that the mere thought of them produces fluttery, giddy feelings. As well as dealing with difficult topics, LANA is the perfect material for a daydream – the ideal, which is composed of those same giddy feelings - which accompanies us as a soundtrack for our personal rom coms.

As a modern twist on a bossa nova song, SZA uses the tune of 'The Girl From Ipanema' by Stan Getz in 'BMF' to show off her lover loud and clear. She modernizes the original song, that depicts a quiet longing, by explicitly stating her affection with pride. TikTok has taken the song into its own hands; creators started a trend where users show off their significant others with some qualities she lists: “Young and fine and dark and handsome.” It feels like she could go on and on about the qualities of her man, and the TikTok community followed suit. 

One thing I love about this song is the lyrical progression of the chorus. The songs opens with: 

"Young and fine and dark and handsome

The boy from South Detroit keep bossing

And I can't keep my panties from dropping

He's so fly, fly"

As the song unfolds, the second chorus shifts. Starting with "the Boy from South Detroit," we then are presented with "the Boy from the West side of Compton," and end with "the Boy from South of somewhere." SZA doesn’t really know where this boy is from – perhaps it signifies her elaborate roster – but what she does know is the effect he has on her. In the last chorus, she offers a more general description of her lover with fewer descriptors compared to the opening: “Young and he fine and he tall and he handsome,” which inherently allows a wider audience to relate.

This broader portrayal of a love interest contrasts with the more specific reference in 'Scorsese Baby Daddy.' In his iconic films Goodfellas, The Wolf of Wall Street, and his most recent Killers of the Flower Moon, Scorsese’s protagonists often share the same traits: charismatic, morally ambiguous, and involved in dangerous activities. This is the archetype that SZA yearns for, over rock and punk influences that make up the song and remind the listener of original SOS track 'F2F.'

The first verse opens with SZA’s confession to loving the thrill: “Addicted to the drama / Scorsese baby daddy.” Her desire for a toxic man comes as no surprise in the chorus, leading her to even go out of her comfort zone for him:

“I hate to be the one (Be the one)

Hate to be the one doing the most

That's what it takes, though

So can you be the one? (Be the one)

Can you be the one to love me for

You love me for it”

As an avid fan of 'F2F,' 'Scorsese Baby Daddy' instantly became a favorite from this release. The upbeat tempo accompanied by peppy lyrics showcase a 'do it for the plot' mindset, regardless of potential outcomes. 

LANA mainly focuses on SZA’s growth as a person and in her relationships. It’s a vulnerable album, depicting imperfections and all sorts of emotions including rage, self-doubt and giddiness. If you thought that SOS – which Rolling Stone recently appointed as number seven on their ‘Greatest Albums of The 21st Century So Far’ list–and 'Kill Bill' were SZA’s peak, those were just the predecessors to a great work of art. Over the years and solidified by LANA, SZA has established herself as one of the greatest artists of our generation. One of her strong suits is her relatability; the listener can associate each one of her titles to their own experiences. Suddenly, you don’t feel so alone in your emotions. It’s not about whether the feelings expressed are particularly rational or not, they are felt nonetheless. 

This release captures the raw and unfiltered realities of our emotions through songs that have already tugged at our heartstrings.

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