ARTS & CULTURE

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SOS immortalizes SZA’s storyteller status

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Hip-hop synth beats, bluesy R&B melodies, indie-rock guitar, and soulful ballads. Solána Imani Row, known mononymously as SZA, created an album that lies between these disparate genres.

SZA’s second studio album, SOS, was groundbreaking, setting Spotify’s record for the biggest album opening week for a Black female artist with 345 million streams.

SZA’s ability to make disparate music styles her own and weave words together in a distinct and beautiful fashion cemented her legacy and established her as a force to be reckoned with in the music industry.

SOS continued the themes of SZA’s extremely successful 2014 debut album, Ctrl, with its hypnotic beats and ambient instrumentation paired with uniquely emotional lyrics.

The three singles leading up to the album were all extraordinary and gave a tease to the unique blend of styles which SOS would encompass. “Good Days,” released in 2020, draws listeners in with muted strings and ambient noises, accompanied by lyrics, “Tryna make sense of loose change // Got me a war in my mind // Gotta let go of weight, can't keep what's holdin' me // Choose to watch while the world break up in front of me,” encapsulating the feeling of optimism in the wake of past struggles.

Similarly, “I Hate U,” released in 2021, focused on knowing her self-worth by examining the wrong-doings of previous partners, with SZA’s smooth alto floating over the lyrics, “I've been up, baby // Lost in the lie of us // Lost, ain't no findin' us // I've been up, baby.”

Unlike the other two, SZA reflects on the personal conflicts of sin and salvation in the third single. “Shirt” was first teased on social media in late 2020, and stayed viral for the two years until it was finally released in Oct. 2022. The lyrics, “Comfort in my sins and all about me // All I got right now // Feel the taste of resentment // Simmer in my skin, it's all about,” metaphysically representing the notion of religious conflict.

SOS expanded SZA’s repertoire with its exploration of different genres, ranging from ethereal pop-rock pieces such as “Good Days” to R&B hip-hop like “Smoking on my Ex Pack.”

The album also featured a unique array of artists, including indie-rock songstress Phoebe Bridgers and Travis Scott. These collaborations not only showed SZA’s ability to adapt to different styles, but also to use her creative spirit to feature these artists at their best. In “Ghost in the Machine,” produced by Rob Bisel and Carter Lang, the synth bassline seamlessly transitions to a simple piano melody which shows off Bridgers’ voice.

This album both portrayed the way in which SZA is able to make any style her own but also make any topic vulnerable and relatable.

SOS had a promising lead-in, and its execution followed suit. Several songs, including “Kill Bill” and “Blind,” immediately blew up on social media. This album both portrayed the way in which

SZA is able to make any style her own but also make any topic vulnerable and relatable.

“Kill Bill” coincides with its namesake, Quentin Tarantino’s film duology, with the song focused on homicidal fantasies about an ex partner. The lyrics, “I might kill my ex, not the best idea // His new girlfriend's next, how'd I get here? // I might kill my ex, I still love him, though // Rather be in jail than alone,” show SZA’s ability to create a raw but poignant duality in her lyrics, with one side being a portrayal of a crazy ex stereotype while the other focuses on the nostalgia of the film.

However, SZA also goes straight to the source of her creativity, and shows off the most vulnerable part of herself in “Special.” SZA sings, “Hate how you look at her 'cause you never saw me // Like I was an art piece, like I was an ordinary girl // I wish I was special // I gave all my special // Away to a loser,” uncovering her insecurities and how she has tried to change herself, something which resonated with shattered egos and bruised senses of self across listeners.

SZA has already claimed her position as a revolutionary artist, but SOS is what cemented her legacy in the music world. SOS has dominated the charts for seven weeks following its release, making her the third woman and the first woman of color to hold this position. SZA’s body of work goes beyond her artistry, and she is only on the beginning of her path to being a muse for future artists who hope to follow in her footsteps.

A review of the past five Super Bowl halftime shows

OUR OBSESSION

TRUE CRIME

With

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345 MILLION Spotify streams in SOS's opening week, setting a record for an album by a Black female artist.

68 MILLION debut streams, the fifth biggest female debut in Spotify's history.

7 WEEKS on Billboard's 200 Chart, making SZA the third woman to hold this record.

For the unathletic, such as myself, the legendary halftime show is the most interesting part of the Super Bowl. How have the past five performances stacked up?

Quite frankly, I was bored by Maroon 5's performance. We've seen enough of shirtless Adam Levine. Where was the choreography? The wow factor? This just felt like any other concert.

Shakira and J. Lo delivered an iconic celebration of Latinx culture and feminine power at their show in Miami. The choreography, the collaboration, and raw talent onstage were unmatched.

Though this performance emerged in the wake of social media stardom, the Weeknd delivered one of the most cinematic performances. Paired with signature synth beats, this show was ecstatic hypnosis.

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