SZA: The Life Story Behind R&B's New Queen
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Growing Up in Maplewood, New Jersey
Solana Imani Rowe was born on November 8, 1989, in St. Louis, Missouri, and was raised in Maplewood, New Jersey, a suburb of New York City, in a household that was, by her own account, strict, religious, and loving. Her father was an executive producer at CNN, her mother was an executive at AT&T, and the family was middle-class, educated, and devout, with SZA, as she would later be known, attending a Muslim preparatory school, and later a public high school, where she was a good student, a gymnast, and a cheerleader, and where she was, by her own account, a shy, awkward girl who did not fit in, who was bullied, and who found refuge in music, in books, and in her own imagination. She has spoken about her childhood with honesty, about the strictness, about the religion, and about the feeling of being different, of being an outsider, and about the way those experiences shaped her, taught her to observe, to write, and to find her voice in the quiet, in the privacy of her own room, where she could be herself, without judgement.
She attended Columbia High School in Maplewood, where she was a gymnast, competing at a high level, and where she was also a student who loved music, who listened to everything, from jazz to hip-hop to alternative rock, and who began to write songs, in notebooks, in her room, as a way to express feelings she did not know how to say out loud. She went on to study marine biology at Delaware State University, a historically Black university, with the intention of becoming a marine biologist, a dream that reflected her love of the ocean, of nature, and of science, but she dropped out in her final semester, after a personal crisis, and after realising that music, not science, was her calling, a decision that was difficult, that disappointed her parents, and that was, in retrospect, the right one, because the music was calling her, and she knew that she had to answer it, even if it meant leaving behind a safe, conventional path, for an uncertain future in art.
Her stage name, SZA, comes from the Supreme Alphabet, a system used by the Nation of Gods and Earths, where S stands for Sovereign or Self, Z for Zig-Zag, and A for Allah, a name that reflects her spirituality, her interest in Islam, and her understanding of herself as a sovereign being, a person who is in control of her own destiny. She has spoken about the name as a statement, about the importance of self-knowledge, and about the way it reminds her, every time she hears it, of who she is, and of what she stands for. She is a person who is, by her own account, spiritual, introspective, and deeply thoughtful, and that thoughtfulness is visible in her music, in the lyrics, in the themes, and in the way she approaches her art, not as entertainment, but as a form of truth-telling, a way to understand herself, and to help others understand themselves, too.
SoundCloud, Z, and the TDE Breakthrough
SZA began her music career by releasing songs on SoundCloud, the platform where many young artists of her generation found their audience, uploading tracks that she had recorded in her bedroom, with beats she had found online, and with a style that was a mix of R&B, neo-soul, and alternative, that was dreamy, introspective, and unlike anything else on the radio. Her first EP, See.SZA.Run, was released in 2012, and it caught the attention of Top Dawg Entertainment, the independent label based in Carson, California, home to Kendrick Lamar, Schoolboy Q, and Jay Rock, who signed her in 2013, making her the first female artist on the label, and giving her a platform, a mentor, and a chance to become a star. She has spoken about TDE with gratitude, about the belief they had in her, about the guidance they gave her, and about the way they allowed her to develop, slowly, at her own pace, without pressuring her to conform, to make hits, or to be something she was not. That patience, that trust, was essential to her development, and it allowed her to become the artist she is today, a person who is not rushed, who is not forced, and who makes music on her own terms, in her own time.
She released her second EP, S, in 2013, and her third EP, Z, in 2014, projects that showcased her talent as a songwriter, as a singer, and as a storyteller, with a sound that was ethereal, that was influenced by the ocean, by nature, and by the alternative R&B of artists like Frank Ocean and The Weeknd, and that established her as one of the most promising young artists in R&B, a person to watch, and a voice that was distinct, that was vulnerable, and that was entirely her own. Z, in particular, featured the song Babylon, and collaborations with Chance the Rapper and Isaiah Rashad, and it was praised by critics, though it did not achieve commercial success, and it was a sign of what was to come, a preview of an artist who was still finding her sound, still learning, and still growing, but who was already remarkable for her honesty, her lyricism, and her ability to make music that felt personal, that felt like a diary, and that felt like a conversation with a friend.
During this period, SZA also became known for her songwriting, writing songs for other artists, including Rihanna, Beyonce, and Nicki Minaj, and proving that she was not just a singer, but a writer, a person who could craft a song, a lyric, and a melody, that would resonate with audiences, even when she was not the one singing it. She co-wrote Consideration for Rihanna’s album Anti in 2016, and she appeared on the song, a collaboration that introduced her to a wider audience, and that showed her as an artist who was respected by her peers, by the biggest stars in music, and who was trusted to write for them. She was building a reputation, slowly, quietly, and on the strength of her work, not on hype, not on controversy, and not on fame, but on the quality of her songs, and that reputation would eventually lead her to the breakthrough that was coming, a breakthrough that would be driven by an album, by a moment, and by a voice that the world was ready to hear.
Ctrl and the Debut That Defined a Generation
In June 2017, SZA released Ctrl, her debut studio album, and it was a landmark, a album that is widely considered one of the greatest R&B albums of the decade, and one of the most important albums by a female artist in recent history. The album, which featured the hits Love Galore, featuring Travis Scott, The Weekend, Broken Clocks, and Drew Barrymore, debuted at number three on the Billboard 200, was certified triple platinum, and was nominated for five Grammy Awards, including Best New Artist and Best Urban Contemporary Album, and it established SZA as a major star, a voice for a generation of young women who recognised themselves in her lyrics, in her stories about love, about insecurity, about jealousy, and about the search for control, in a world that often feels out of control. The album’s title, Ctrl, is a reference to the control key on a computer, and to the idea of taking control of your life, your relationships, and your self, and that theme, of control, of agency, and of self-knowledge, runs through every song, making the album not just a collection of hits, but a coherent work, a story, and a statement.
What made Ctrl so powerful was its honesty, its vulnerability, and its specificity. SZA sings about the details of relationships, about the texts, the jealousy, the insecurities, and the small moments that make up a love affair, and she does it with a detail that makes the listener feel as though she is telling their story, not just her own. The Weekend, a song about being the other woman, about sharing a man, became an anthem, a song that was both controversial and relatable, and that showed SZA as a writer who was not afraid to talk about difficult subjects, to be honest about her own flaws, and to tell the truth, even when the truth is uncomfortable. Love Galore, with Travis Scott, was a hit, a song about a complicated relationship, and Drew Barrymore, a song named after the actress, was a fan favourite, a track that showcased SZA’s ability to write a pop song that was also a personal song, and that was loved by audiences who heard their own experiences in its lyrics.
The album’s success was also due to SZA’s voice, a voice that is distinctive, that is both smooth and raw, that is vulnerable and powerful, and that is unmistakable, a voice that sounds like no one else, and that is instantly recognisable, even after a single line. She sings with a honesty that is rare, with a phrasing that is conversational, and with an emotion that is palpable, and that combination makes her music feel intimate, like a conversation with a friend, like a diary entry, like a secret shared in confidence. Ctrl was not just an album; it was a moment, a cultural event, and a work that defined a generation, a generation of young women who were tired of being told how to feel, and who wanted music that reflected their experiences, their insecurities, and their strength. SZA gave them that music, and they have loved her for it ever since.
SOS, Kill Bill, and the Second Peak
After a five-year break from releasing albums, during which she faced anxiety, self-doubt, and the pressure of following up a classic, SZA returned in December 2022 with SOS, her second studio album, and it was a massive commercial and critical success, debuting at number one on the Billboard 200, staying there for ten weeks, and becoming one of the best-selling albums of the year. The album, which featured the hits Kill Bill, Snooze, Good Days, and I Hate U, was a mix of R&B, pop, rock, and hip-hop, with a sound that was more diverse, more ambitious, and more confident than Ctrl, and that showcased SZA as an artist who had grown, who had matured, and who was not afraid to take risks, to try new sounds, and to push herself. Kill Bill, in particular, became one of the biggest songs of her career, reaching the Hot 100 summit, and becoming a cultural phenomenon, with its dark, funny lyrics about killing an ex, inspired by the film Kill Bill, and with a music video that was cinematic, stylish, and unforgettable. The song’s success, its chart climb, and the love it received from fans, all demonstrate SZA’s talent, her humour, and her ability to make a song that is both catchy and complex, both fun and dark, and that resonates with millions of people.
SOS was also a personal album, dealing with themes of heartbreak, of revenge, of self-love, and of the search for peace, and it showed SZA as a writer who was willing to be honest about her feelings, about her relationships, and about her struggles, in a way that was both vulnerable and powerful. Snooze, a romantic, dreamy track, became a hit, spending weeks on the charts, and winning the Grammy Award for Best R&B Song, and it showed a different side of SZA, a singer who could make a love song that was both tender and sexy, and that was loved by audiences who recognised something of themselves in its lyrics. The album won three Grammy Awards, including Best R&B Song for Snooze, Best Progressive R&B Album, and Best Pop Duo/Group Performance for Ghost in the Machine, featuring Phoebe Bridgers, and it established SZA as one of the biggest stars in music, a person who could top the charts, who could win Grammys, and who could do it with music that was entirely her own, that was honest, and that was true to who she is.
The SOS Tour, which followed the album, became one of the highest-grossing tours by a female R&B artist, playing arenas and stadiums around the world, and showcasing SZA as a live singer at her most confident, with a stage show that was theatrical, with visuals that were stunning, and with a energy that was unmistakable. She performed with a band, with dancers, and with a sense of drama that made every concert feel like an event, a celebration, and a moment of connection, between SZA and her audience, who sang along to every word, who knew every lyric, and who felt as though they were part of something special. The tour was a triumph, and it proved that SZA was not just a recording artist, but a live star, a person who could fill arenas, and who could do it with a show that was both intimate and spectacular, both personal and universal.
Lana, the Deluxe, and the Continued Rise
In December 2024, SZA released Lana, a deluxe edition of SOS, featuring fifteen additional tracks, including the hits Saturn, BMF, and Drive, and the album, which was a commercial success, debuting in the top ten, and proving that SZA could still craft hits, could still top the charts, while still moving the culture, even after the success of SOS. Saturn, in particular, became a hit, with its dreamy, introspective lyrics, and its celestial imagery, and it showed SZA as an artist who was still growing, still experimenting, and still finding new ways to make music that was both personal and universal. The deluxe edition was a gift to her fans, a way to share more music, more stories, and more of herself, and it was a reminder that SZA is a prolific artist, a person who writes constantly, who records constantly, and who has more music to share than can fit on a single album. She has spoken about the deluxe as a work that is close to her heart, about the songs that did not make SOS, and about the joy of finally releasing them, and that joy is evident in the music, in the lyrics, and in the performances.
She also collaborated with Kendrick Lamar on the song Luther, from his album GNX in 2024, a track that became a number one hit, and that showcased the chemistry between the two TDE artists, two friends, and two of the most talented musicians of their generation. Luther, a soulful, romantic track, was a perfect fit for both artists, with SZA’s vocals complementing Kendrick’s rapping, and with a sound that was both modern and timeless, and it became one of the year’s most-streamed tracks, played everywhere, and loved by audiences who recognised the magic of the collaboration. She also toured with Kendrick Lamar on the Grand National Tour in 2025, co-headlining stadiums across North America and Europe, and the tour became one of the highest-grossing of the year, a celebration of two artists, of TDE, and of the music they had made together, and it proved that SZA was not just a solo star, but a collaborator, a person who could share the stage, and who could make music that was greater than the sum of its parts.
In recent years, SZA has continued to work, to record, and to perform, with new music in development, and with a reputation as one of the most respected and admired artists in the world. She is a multiple Grammy winner, a chart-topping singer, and a cultural touchstone, with songs that captured a moment, from The Weekend to Kill Bill to Snooze, and with fans who waited years for each album and loved them anyway.Her story, of a girl from Maplewood who became R&B’s new queen, is still being written, at her own pace, as always.
The Voice, the Lyrics, and the Anxiety
SZA is known as much for her lyrics as for her voice, with a songwriting style that is confessional, detailed, and unflinchingly honest, dealing with themes of love, jealousy, insecurity, and self-doubt, in a way that is both quiet and universal. She writes about the small moments, the texts, the late-night calls, the jealousy, and the longing, and she does it with a detail that makes the listener feel as though she is telling their story, not just her own. Her lyrics are often described as diary entries, as conversations, and as confessions, and that intimacy is a major part of her appeal, a sign of a writer who is not afraid to be vulnerable, to admit her flaws, and to tell the truth, even when the truth is uncomfortable. She has spoken about her songwriting as a form of therapy, about the process of writing as a way to understand herself, and about the importance of honesty, in art and in life, and that honesty is visible in every song she writes, in every album she releases, and in every performance she gives.
She has also been open about her struggles with anxiety, with self-doubt, and with the pressures of fame, and she has spoken about the difficulty of following up Ctrl, about the fear that she would never make another album as good, and about the process of overcoming that fear, through therapy, through writing, and through the support of her friends, her family, and her fans. Her openness about mental health is a part of her story that resonates with many fans, who see in her a singer who is open about anxiety, and who writes about it without shame, and who find comfort in the fact that she is honest about it, that she does not pretend to be perfect, and that she is willing to talk about the hard parts, as well as the good parts. That honesty is a gift, and it is one that has helped many of her fans, and that has made her music more than entertainment, but a form of healing, a way to feel less alone, and a reminder that it is okay to struggle, and that it is okay to ask for help.
Her voice, which is distinctive, which is both smooth and raw, and which is unmistakable, is another major part of her appeal, a voice that sounds like no one else, and that is instantly recognisable, even after a single line. She sings with a phrasing that is conversational, with an emotion that is palpable, and with a honesty that is rare, and that combination makes her music feel intimate, like a conversation with a friend, like a secret shared in confidence. She is not a singer who belts, who shows off, but a singer who whispers, who confides, and who invites the listener into her world, and that invitation, that intimacy, is what makes her music so powerful, and so beloved, by audiences who feel as though they know her, even though they have never met her, because her music feels like a part of them, like a diary they have written themselves.
Legacy: R&B’s New Queen
SZA’s legacy is that of R&B’s new queen, a singer who took her time, wrote honestly, and redefined what an R&B album could sound like. She is a Grammy winner, a chart-topping artist, and a cultural figure, with albums that are considered classics, from Ctrl to SOS, and with songs that have defined a moment, from The Weekend to Kill Bill to Snooze, and with listeners who waited years between albums and stayed.Younger singers look to her as a guide for writing honestly about love, insecurity, and growth, in the language people actually use.
SZA’s influence is in the R&B singers who now write the way people actually talk, messy, funny, insecure, and honest, because she proved that a song can be a text message and a masterpiece at the same time. She is a link between the R&B of the past and the R&B of the future, a bridge between the soul of the 1990s and the alternative sounds of today, and that bridge is a testament to her talent and her vision. She is also a visual artist, a fashion icon, and a cultural figure, an artist whose reach extends far past music, into fashion, into social media, and into the way young people think about identity, about love, and about being themselves. She is a queen, in every sense of the word, and her reign is far from over.
SZA’s next album will be worth the wait, because her audience has learned that she does not rush, and that the waiting is part of the experience. She writes slowly, she records carefully, and she releases music when it feels ready, not when the calendar demands it, and that patience has made every record feel like a gift rather than a product. What her career proves is that honesty, delivered in a whisper, can be louder than any shout, and that a singer who tells the truth about love, insecurity, and growth will find an audience that stays. The girl from Maplewood who felt like an outsider became a voice for everyone who has ever felt the same, and that voice is only getting stronger.
My Take:
Ctrl and the Album That Felt Like a Diary
When I think about SZA, I think about Ctrl, not just as an album, but as a diary, a collection of songs that feel like entries in a journal, written late at night, in a moment of honesty, about love, about jealousy, about insecurity, and about the search for control, in a world that often feels out of control. I have listened to Ctrl many times, and each time I am struck by its honesty, by the way SZA sings about the details of relationships, about the texts, the late-night calls, the jealousy, and the small moments that make up a love affair, with a detail that makes the listener feel as though she is telling their story, not just her own. The Weekend, a song about being the other woman, is a perfect example, a track that is both controversial and relatable, that deals with a difficult subject, and that does it with a honesty that is rare, with a voice that is both vulnerable and confident, and with a melody that is unforgettable. That is the power of Ctrl, and it is why the album is considered a classic, not just in R&B, but in music as a whole, a work that defined a generation, and that will be listened to for years to come.
What impresses me most about Ctrl is the way it balances the personal and the universal, the specific and the general, in a way that makes every song feel both like SZA’s story and like the listener’s story, at the same time. She sings about her own experiences, about her own relationships, and about her own insecurities, but she does it in a way that is so detailed, so honest, and so relatable, that the listener recognises themselves in her lyrics, even if their life is very different from hers. That is the mark of a great songwriter, a person who can take a personal experience and make it universal, who can turn a diary entry into an anthem, and who can make the audience feel less alone, by sharing her own loneliness, her own doubts, and her own hopes. Ctrl does that, song after song, and that is why it has lasted, why it is still listened to, and why it is still considered one of the great albums of the decade, a work that is both a personal statement and a universal truth.
I also think about the title, Ctrl, and about what it means, the control key on a computer, and the idea of taking control of your life, your relationships, and yourself, and about how that theme runs through the album, from the first track to the last, as SZA explores what it means to be in control, to lose control, and to find it again. She is not a singer who pretends to have all the answers; she is a singer who is searching, who is learning, and who is trying to figure it out, just like her audience, and that searching, that vulnerability, is what makes her music so powerful, so relatable, and so honest. Ctrl is not an album about having control; it is an album about wanting it, about losing it, and about the struggle to find it, and that struggle is universal, it is human, and it is the reason the album resonates with so many people, of all ages, of all backgrounds, and of all experiences.
One more thing about Ctrl stays with me, and it is the voice, the way SZA sings, with a phrasing that is conversational, with an emotion that is palpable, and with a honesty that is rare, and that combination makes her music feel intimate, like a conversation with a friend, like a secret shared in confidence. She does not belt, she does not show off, she whispers, she confides, and she invites the listener into her world, and that invitation, that intimacy, is what makes Ctrl so special, so beloved, and so lasting. The album is a diary, a conversation, and a work of art, all at once, and it is a testament to SZA’s talent as a writer, as a singer, and as a person who is willing to be honest, even when honesty is difficult, and even when it means admitting that she does not have control, that she is still learning, and that she is still growing.
Kill Bill and the Song That Was Both Funny and Dark
Kill Bill, SZA’s biggest hit, is in my opinion one of the most interesting songs of the last decade, not just because it was a number one hit, but because it is both funny and dark, both a pop song and a revenge fantasy, a track that deals with jealousy, with heartbreak, and with the desire to kill an ex, inspired by the film Kill Bill, and that does it with a humour, a wit, and a melody that make it impossible not to sing along to, even as the lyrics are, on their face, about murder. I remember hearing Kill Bill for the first time, and thinking that this was a song that was going to be huge, because it was catchy, because it was clever, and because it captured a feeling that many people have had, the fantasy of revenge, the anger after a breakup, and the dark humour that comes with it, and SZA captured that feeling perfectly, with a song that is both a joke and a confession, both a fantasy and a truth, and that is a rare achievement, to make a song that is both funny and serious, both light and dark, and that resonates with millions of people.
What I find most impressive about Kill Bill is the way SZA balances the humour and the darkness, the way she sings about killing her ex, about the fantasy, with a voice that is sweet, that is melodic, and that is almost innocent, creating a contrast that is both funny and unsettling, and that makes the song more interesting than a straightforward revenge song would be. She is not glorifying violence; she is exploring a fantasy, a dark thought that many people have, and she is doing it with a self-awareness, a humour, and a honesty that make it clear she is playing with an idea, not advocating for it, and that playfulness is a part of her genius, a sign of a writer who understands that the best songs are the ones that explore the grey areas, the complicated feelings, and the thoughts we are afraid to admit we have. Kill Bill is a song about jealousy, about heartbreak, and about the dark side of love, and it is a song that will be remembered as one of the great pop songs of the decade, because it is both a hit and a work of art, both fun and profound.
I also think about the music video, with its cinematic, Kill Bill-inspired aesthetic, with SZA as a kind of assassin, with a style that is both glamorous and dangerous, and about the way the video became as famous as the song, a visual spectacle that was both beautiful and bold, and that showcased SZA as a visual artist, a person who thinks about every aspect of her work, from the sound to the visuals to the fashion, and who creates a experience that is immersive, that is total, and that is unforgettable. The video is a perfect complement to the song, a work of art that is both a tribute to the film and a statement about SZA herself, a person who is not afraid to be dark, to be funny, and to be herself, even when that self is complicated, even when it is contradictory, and even when it is a little bit dangerous. Kill Bill is not just a song; it is a world, a film, and a fantasy, all at once, and that completeness is why it became a hit, and why it will be remembered.
SOS and the Album That Proved She Could Do It Again
SOS, SZA’s second studio album, released in 2022 after a five-year wait, is in my opinion a triumph, not just because it was a commercial success, debuting at number one and staying there for ten weeks, but because it proved that SZA could follow up a classic, that she could make an album that was as good as, if not better than, Ctrl, and that she could do it on her own terms, in her own time, without rushing, without compromising, and without giving in to the pressure to release something, anything, just to stay relevant. The album is a mix of R&B, pop, rock, and hip-hop, with a sound that is more diverse, more ambitious, and more confident than Ctrl, and that showcases SZA as an artist who has grown, who has matured, and who is not afraid to take risks, to try new sounds, and to push herself, even when the stakes are high, even when the world is watching, and even when the fear of failure is real. That courage, that willingness to take her time, to wait five years, and to release an album only when it was ready, is a rare thing in an industry that rewards speed, that demands constant output, and that punishes artists who take their time, and SZA’s success is a proof that patience, that quality, and that honesty, are worth waiting for.
What I love most about SOS is its diversity, the way it moves from R&B to rock to pop to hip-hop, sometimes within a single song, and the way SZA’s voice, her lyrics, and her personality hold it all together, making it feel cohesive, even as it explores different sounds, different moods, and different themes. Snooze, a romantic, dreamy track, is a perfect example, a song that is both tender and sexy, that won a Grammy, and that became a hit, spending weeks on the charts, and showing a different side of SZA, a singer who could make a love song that was both intimate and universal. Kill Bill is another example, a dark, funny track, that became a number one hit, and that showed a different side, a rapper, a storyteller, and a person who is not afraid to be dark, to be funny, and to be herself. Together, these songs make an album that is not just a collection of hits, but a portrait of an artist, a person who is complex, who is multifaceted, and who is not afraid to show all of it, the light and the dark, the love and the anger, and the joy and the pain.
I also think about the wait, the five years between Ctrl and SOS, and about the anxiety, the self-doubt, and the pressure that SZA has spoken about, and about the way she overcame it, through therapy, through writing, and through the support of her fans, her friends, and her label, TDE, who allowed her to take her time, to develop, and to release an album only when it was ready. That patience, that trust, is a part of her story that deserves to be celebrated, because it shows that the best art is not rushed, that it takes time, and that an artist who is given time, who is trusted, will reward that trust with work that is worth waiting for. SOS was worth waiting for, and it is a testament to SZA’s talent, her patience, and her commitment to her craft, a commitment that is rare, and that is inspiring, for any artist who is struggling with self-doubt, with anxiety, and with the pressure to be perfect, and who needs to hear that it is okay to take your time, to be imperfect, and to make art that is honest, even if it takes five years to do it.
What I Take Away From Her Story
When I look at SZA’s whole career, from a shy girl in Maplewood who was bullied, who loved marine biology, and who dropped out of university, to a global superstar who fills stadiums, what stays with me is the journey, the fact that it took her years, from SoundCloud in 2012 to Ctrl in 2017 to SOS in 2022, to become a star, and that she did it by working, by writing, by recording, and by believing in herself, even when the industry did not know what to make of her, even when she was told that she was too alternative, too introspective, and too different to be a pop star. She proved them wrong, again and again, with albums, with hits, and with a fanbase that is among the most passionate in music, and that proof is a testament to her talent, her persistence, and her belief in herself, a belief that has carried her from Maplewood to the world, and that will continue to carry her forward, into the next chapters of her career.
I also think her story is a reminder that honesty matters, that being vulnerable, being open about your insecurities, your jealousy, and your doubts, is not a weakness, but a strength, and that audiences respond to honesty, to music that feels real, that feels like a diary, and that feels like a conversation with a friend. SZA’s music is honest, it is vulnerable, and it is real, and that is why it resonates with millions of people, especially young women, who see in her a person who is like them, who struggles with the same things they do, and who is not afraid to talk about it. That honesty is a gift, and it is one that has helped many of her fans, and that has made her music more than entertainment, but a form of healing, a way to feel less alone, and a reminder that it is okay to struggle, and that it is okay to be yourself, exactly as you are, with all your flaws, all your doubts, and all your hopes.
Finally, I want to say that I am looking forward to what comes next for her, because she is an artist who is still growing, still learning, and still finding new ways to make music. Her album Lana, her tour with Kendrick Lamar, and her collaborations all suggest a musician who is not content to rest on her past successes, but who is looking forward, to the next song, the next album, the next project, and who is doing it with a curiosity and a creativity that are infectious. Her story is one of the great stories in modern R&B, a story about a girl from Maplewood who became R&B’s new queen, and it is a story that is still being written. I will be watching, and listening, because if her past is any guide, the next chapters will be as dreamy, as honest, and as compelling as the ones that came before, and that is a promise worth holding on to.
One last thought stays with me, and it is about the ocean, about SZA’s love of marine biology, about the sea, and about the way her music feels like the ocean, vast, deep, and mysterious, with currents that pull you in, with depths that you cannot see, and with a beauty that is both calming and powerful. That image, of the ocean, is a perfect metaphor for her art, for her voice, and for her story, a story that is still unfolding, like the tide, like the waves, and that will continue to surprise, to inspire, and to move, for years to come. SZA is the ocean, and her music is the tide, and I will be listening, as it comes in, again and again.
Frequently Asked Questions
How did SZA become famous?
SZA became famous with her debut album Ctrl in 2017, after releasing EPs on SoundCloud and signing to Top Dawg Entertainment in 2013. Ctrl was a critical and commercial success and earned five Grammy nominations.
What is SZA’s biggest song?
Her biggest songs include Kill Bill, which reached number one, Snooze, The Weekend, Love Galore, Good Days, and Saturn. Kill Bill became her first number one hit on the Billboard Hot 100.
Where is SZA from?
SZA was born Solana Imani Rowe in St. Louis, Missouri, on November 8, 1989, and was raised in Maplewood, New Jersey. She studied marine biology at Delaware State University before pursuing music.
How many Grammys has SZA won?
SZA has won four Grammy Awards, including Best R&B Song for Snooze, Best Progressive R&B Album for SOS, and Best Pop Duo/Group Performance for Ghost in the Machine with Phoebe Bridgers.
What does SZA stand for?
SZA comes from the Supreme Alphabet, where S stands for Sovereign or Self, Z for Zig-Zag, and A for Allah. It reflects her spirituality and her belief in self-knowledge.
What are SZA’s best albums?
Her best albums are Ctrl from 2017 and SOS from 2022, plus the deluxe edition Lana from 2024. SOS stayed at number one for ten weeks and is one of the best-selling R&B albums of the decade.
