At long last, Lana, the deluxe addition to the SZA LP SOS, is upon us. First teased in the early goings of this year, the record just landed, adding a massive 15 tracks to the already sprawling album. Here’s everything you need to know about what SZA accomplishes with Lana.
Table Setting And The Album’s Sole Feature Kick Off Lana For SZA
We begin with “No More Hiding,” executing an extraterrestrial spin on the tender acoustics of SOS proper. While structurally the track does a great job of setting the table for what Lana executes throughout its tracklist, it doubles as a decent way to set Lana apart from what SZA already accomplished in 2022 while maintaining ties to the larger project. From there, it’s “What Do I Do,” a song where SZA is “the other woman” in the vein of “The Weekend,” albeit receiving the news in a more unexpected and truly graphic fashion. If “No More Hiding” establishes the aesthetic of the project, this delivers the narrative, highlighting the insecurities expressed in the superstar’s catalog for as long as she’s been in the spotlight.
The 15-song tracklist reaches an early apex with “30 For 30” featuring Kendrick Lamar, already a fan favorite and staple of social media in feeds in the time since the project’s release, unsurprising given Dot’s massive 2024 and how the chemistry between the two was a major storyline coming out of his GNX. On this link-up, it almost feels as if Kendrick rubs off on SZA, demonstrated with the repetitive, pop-culture referential hook: “Chat- should I?” She also throws some Kendrick-esque off-the-wall vocalizations in the mix towards the front of the song. However, most interesting is how “30 For 30” plays out a flip in their usual dynamic, Kendrick is almost the straight man to SZA, utilizing quieted cadences that leave the singer to flitter between dynamic vocal ranges.
Emotional Material Paces The Record’s Middle Section
We come back down to earth for “Diamond Boy,” simply a very pretty composition: vocal talent at an all-time high, the elegant strings at the end. Its alt R&B production feels like a merger between her various eras, calling back in broad strokes to Z with the full, lush atmosphere of CTRL. Simple as it is, what’s most notable about the song is its central refrain, SZA threading the needle between simplistic and thus memorable, and also poetic with the “diamond boy, why you so shining” lyric.
“BMF” showcases how SZA and Lana connect to the ’90s pop punk she dipped into on cuts like “F2F,” off of SOS, but “Scorcese Baby Daddy” may be the best example, encompassing a full embrace of the angsty between its lyrics, production and delivery. Zooming out, stepping into this lane has been one of the big takeaways from this SZA SOS/Lana era. SZA herself has said that the reason this addendum came as a deluxe rather than a feel-new project is exactly because it’s closing the book on this chapter of her career. Moving forward, it’d be interesting to see her tackle this for a full project, both for the impact her stardom could have on the genre’s revival and also how audiences would react to that turn.
A Self-Actualization Narrative For SZA on Lana
As the record plays out, the romantic themes that pace most SZA records begin to define Lana. There’s some clearheadedness and self-reflection on the aptly titled “Love Me 4 Me,” portraying themes of self love that are so often eschewed in her catalog. That’s not meant as a pejorative—in fact, it’s always refreshing how SZA wears her flaws and shortcomings on her sleeves. However, it feels like there’s almost a recognition of that calling card on this deluxe effort, and concerted effort in resolving some of those ideas.
Especially given how she throws out the idea of external validation on “Chill Baby”: “I’m so sick of loving s***,” she defiantly stamps, recognizing inner conflict on the subject and acknowledging its limits. “Drive,” released as a single as the record’s initial release faced delays, caps this off, its central imagery one of quiet acceptance and zen. Finally, we end with “Saturn,” almost reaching an uneasy resolution about escapism and wishful thinking. On a structural/commercial note, including the already massive loosie here creates a tight throughline between the marks of SOS and Lana, a two-year stretch that comprehensively cemented SZA as one of the most powerful forces in pop music.
The Last Word
If you’re an active social media user, and especially someone who consumes music content through those channels, you’ve undoubtedly seen conversations regarding why this record was. As mentioned earlier, the artist’s own reflections should take precedence in that, but at least in this writer’s view, it’s missing the forest for the trees. The fact remains that Lana sees SZA at the top of her game once again regardless of how it’s packaged, and much the same as the original SOS, this feels like a buzzer beater record that’ll go on to define the early stages of the new year.
Catch Lana and all of the SZA catalog now wherever you get your music.
Elsewhere in our coverage, Smino – Maybe In Nirvana highlights another major hip-hop holiday release.
