When SZA dropped SOS in December 2022, it was nothing short of a cultural reset. Two years later, the R&B trailblazer has returned with SOS Deluxe: LANA, a 14-track expansion that offers an evolved, more serene version of her multi-faced musical landscape. Known for her lengthy approach to music-making, SZA has always taken her time, and LANA is no exception. As is typical with her work, the album explores themes of healing, emotional vulnerability, love, and self-discovery, albeit with a fresh, even more introspective view.
Despite the album’s thematic cohesion, it’s clear that SOS Deluxe: LANA is an album of contrasts. On one end of the spectrum, “BMF” has emerged as the standout, a bouncy, sun-soaked song that feels made for TikTok. Combining a catchy melody with fun lyrics—“That’s why he my man / Young and he fine and he tall and he handsome / Pockets so fine I might hold him for ransom”—it’s a song that feels effortless and iconic, fitting easily into the pop-R&B field. Sampling the timeless “Girl from Ipanema,” it blends nostalgia with a modern twist, and it’s easy to see why it has gained such widespread appeal.
Another track that stands out is “Drive,” one of the album’s more contemplative moments. Slower and more vulnerable, the song taps into themes of emotional turmoil and personal uncertainty, with SZA’s voice floating effortlessly over a delicate beat. The metaphor of driving aimlessly in search of clarity recalls Olivia Rodrigo’s drivers license, but SZA adds a layer of introspective depth that resonates on a personal level. The lyrical exploration of internal conflict and longing elevates the track into something haunting and deeply personal.
Of course, no album is without its stumbles. “Chill Baby” and “My Turn,” both hold a sense of repetitiveness that makes them feel like a filler, rather than full songs on the album. The song structures feel like a typical formula.. In the case of “My Turn,” a song that is clearly designed to echo the theme of Kill Bill, it falls short of delivering the same emotional punch, despite its well-made beat and melody. As a result, it doesn’t quite live up to the standard fans have come to expect from SZA, and in a project that spans 14 tracks, these moments can drag.
Unfortunately, these more forgettable tracks contribute to the mixed reception LANA has brought out from the public. While there are moments of brilliance, there’s a sense that the album doesn’t quite reach the same heights as its earlier rival. For listeners expecting the same level of originality as SOS, the inconsistencies can be jarring. The occasional missing step leaves a gap in the overall experience, and while LANA holds significant moments of beauty, some may find themselves less motivated to return for a second listen.
SOS Deluxe: LANA is mostly a reflection of SZA’s artistic evolution. It’s a testament to her openness to experiment and to step outside the boundaries of what we’ve come to expect from her. While it showcases the same lyricism and depth that made SOS such a breakthrough album, there are moments where the album’s pacing falters. Tracks like “BMF” and “Scorsese Baby Daddy” provide some of the best highlights, showing SZA at her most playful and innovative. However, the album’s occasional falls into repetition may leave some listeners with mixed opinions. Still, SZA’s journey as an artist—one that continues to push boundaries and reveal layers of her personal and creative life—makes SOS Deluxe: LANA an intriguing addition to her discography.
