SZA’s Determination for Evolution in ‘SOS Deluxe: LANA’

Two years after releasing “SOS,” SZA has expanded her Grammy-winning album with 15 tracks on “SOS Deluxe: LANA.” Named after her nicknames “Sos” and “Lana,” which are short for Solána, the album dissects themes of embodied relationships and focuses on her own evolution and grit. 

“LANA” begins with “No More Hiding” — a calm, atmospheric track about self-evolution. SZA’s velvety voice flows across the song, guided by drizzling rain and synthesized flute. 

SZA answers an accidental call by her partner in “What Do I Do.” The singer contemplates her next steps after listening to him cheat, eventually deciding to stand her ground instead of reverting to an older, more forgiving self. Synth piano and bass underline the track with otherworldly instrumentals. 

Sampling Switch’s 1979 hit “I Call Your Name,” SZA and Kendrick Lamar make it their own in “30 For 30” while maintaining the original’s instrumental essence. In the lyrics, the duo forgo immature relationships and passivity in favor of confrontation. 

“I get this type of feeling you ain’t accustomed to / I swear I’d be at peace if it weren’t for you (Yeah, yeah) / Only want your love if it’s solid / But if it’s fuck me, then fuck you (Huh),” SZA and Lamar sing. 

The instrumentals of “Diamond Boy (DTM)” take a backseat while SZA’s harmonic vocals slide across the track. Questioning her self-devotion, SZA sings of being so in love with another person it doesn’t matter if the relationship isn’t exclusive. Doubt overloads the song as SZA second guesses the effort she’s putting in, asking if she’s doing too much. 

Shifting away from melancholy, the groovy, bossa nova-inspired “BMF” flaunts a giddy, upbeat side of SZA. With an air of lust, the artist recounts different men she’s interacted with by sampling Stan Getz and João Gilberto’s “The Girl From Ipanema.”

“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,” SZA sings. 

“Scorsese Baby Daddy” mixes R&B with rock for another track about putting more into a relationship than what’s received. SZA lacks reciprocity with her partner who she says brings Martin Scorsese-esque drama into her life. 

The singer continues the theme of mutuality in “Love Me 4 Me,” in which she says only her mother has ever seen her truest self. By the end, SZA decides to love her true self instead of a version defined by a romantic partner. Stunted trumpets mimic her relationships as ethereal synths and vocal vibratos create a thorough, well-crafted track. 

Chill, mellow instrumentals cast an iciness across “Chill Baby.” Resonant bass and hardened vocals search for peace in a world of chaos and have a desperate desire to cling onto frozen emotions. 

Wanting retribution, SZA deals out hurt instead of dealing with it herself in “My Turn.” A toned-down track compared to SOS’s hit single “Kill Bill,” the song still carries an essence of vengeance. 

“Crybaby” rings of unadulterated vulnerability. SZA, once ashamed of her emotionality in “Supermodel” and sensitivity in “Good Days,” reclaims them as positive attributes. Her voice rises in depth as she tracks her emotional evolution — from placing blame on others to reflecting on her own actions. 

“’Cause all I seem to do is get in my way / Then blame you, it’s just a cycle, rinse, recycle / You’re so sick, I’m so sick of me too,” SZA sings. 

The singer croons in “Kitchen,” shifting her voice to the back of her throat. This vocal shift allows the singer to share an air of sensitivity with the audience. Her heavy voice informs her partner she’s going to focus on herself rather than continue an abusive relationship. 

In “Get Behind Me (Interlude),” SZA plays with the phrase “Not today, Satan.” Finally beginning to live her full life, she sings of not letting anyone bring her down alongside Brazilian samba instrumentals. 

Going for a long car ride to clear her head, “Drive” is a slightly acoustic track, with just a few electric guitar strums and minimal production. Instead of chasing meaningless hookups or making enemies, SZA decides to pursue genuine love. 

A song about the right person at the wrong time, “Another Life” reflects on a love that could’ve been. SZA fleshes out her personal growth in the penultimate track as the simplistic instrumentals allow the singer to showcase her raw, emotionally tainted vocal prowess. 

SZA concludes her deluxe album with “Saturn,” a track released Feb. 22, shortly after performing it in a Grammy commercial. Deciding to move to Saturn because life doesn’t matter on Earth, SZA’s lush voice cascades across the ethereal track. 

If “SOS” is quick to forgive, jumps to conclusions and is stuck in unhealthy cycles, then “LANA” radiates healing, growth and self-respect. 

Evolve with SZA in “SOS Deluxe: LANA,” now, finally, available on all major streaming platforms.