State Champ Radio What SZA’s Long-Awaited Return Taught Us About The Future of R&B
Written by djfrosty on December 11, 2023
In the five years that followed the release of SZA’s groundbreaking debut album, Ctrl, the acclaimed artist teased fans with the occasional one-off or collaboration — as the wait for the official follow-up continued to grow. So when she finally did return at the end of 2022 with her much-anticipated second album, SOS, the stakes were high. And throughout 2023, her record-breaking chart wins exceeded expectations.
With SOS, SZA ventured outside R&B’s boundaries by diving into gospel, grunge, pop-punk and rap; meanwhile, as her producer-engineer, Rob Bisel, previously told Billboard, “Her pen got sharper and more personal.” SOS debuted at No. 1 on the Billboard 200 and spent 10 nonconsecutive weeks there, the most of any R&B/hip-hop album by a woman since Mariah Carey’s self-titled debut spent 11 weeks at the top in 1991. Instead of its impact being limited to the final weeks of 2022, SOS became one of this year’s biggest releases.
It started with the groovy yet gruesome “Kill Bill,” which arrived as a single in January and eventually became SZA’s first No. 1 on the Billboard Hot 100; it also made history with an unprecedented 21-week siege atop the Hot R&B/Hip-Hop Songs chart. The following month, she embarked on the SOS tour, telling Billboard at the time that she was “deeply excited to pop ass and cry and give theater” during her first-ever arena headlining stint, compared with her more intimate, stripped-down shows in the past. “When I finally saw the tour and how insane she was going with her choreography, range and stamina … it really hit me,” her producer Carter Lang previously told Billboard. “The transformation was super apparent.”
SZA found ways to keep SOS in rotation while on the road. In April, “Snooze” was released as the album’s sixth single and slowly grew into its next smash. It was serviced to (and succeeded at) rhythmic, R&B/hip-hop and pop radio, all of which culminated in a star-studded music video that arrived in August and featured Justin Bieber. Soon after its release, she recruited him for the song’s acoustic version. “Snooze” ultimately peaked at No. 2 on the Hot 100 and dethroned “Kill Bill” on Hot R&B Songs, where the former had ruled for 16 nonconsecutive weeks.
By September, SOS became the longest-running No. 1 title on Top R&B Albums, logging 50 weeks and counting at the summit. And to top it all off, SZA finished at No. 1 on four major Billboard year-end R&B/hip-hop rankings: Top R&B/Hip-Hop Artists, Hot R&B/Hip-Hop Songwriters, Top R&B/Hip-Hop Albums (SOS) and Hot R&B/Hip-Hop Songs (“Kill Bill”). SZA was also crowned the No. 2 Hot 100 artist of the year and No. 5 Hot 100 songwriter of the year, while SOS landed at No. 3 on the year-end Billboard 200 recap.
“We had a lot of really big moments in R&B this year, obviously SZA being one of those,” says Alaysia Sierra, head of R&B at Spotify. “She’s pop, alternative, R&B. She doesn’t want to be put in a box, but she can’t deny her foundation.”
But SZA wasn’t the only R&B artist earning rave reviews following a prolonged album break. Janelle Monáe returned with The Age of Pleasure, which is Grammy-nominated for album of the year and blends more Afrobeats, reggae, funk and soul sounds compared with her 2017 left-of-center pop album, Dirty Computer. Jorja Smith released the kaleidoscopic Falling or Flying five years after her critically acclaimed debut, Lost & Found. And Kelela dropped the rapturous Raven, the follow-up to her first full-length album, Take Me Apart, from 2017. Taking their time to further develop their sound — regardless of expectations to make a specific type of music — wasn’t just better for their peace of mind but also for their artistry.
“It’s hard making music as a Black woman [because] we don’t get the luxury to try something and have it be something that’s genuinely part of us,” SZA previously told Billboard. “You have to allow people to get to know different parts of it.”
She’s following the trajectory laid out by artists like Beyoncé and Usher, who have R&B roots but later crossed over and found mainstream pop superstardom. Decades into their careers, they are dominating the world’s biggest stages: Beyoncé’s Renaissance world tour grossed $579.8 million, according to Billboard Boxscore — making it the highest-grossing tour by a woman, a Black artist and any American soloist — while Usher will headline the Apple Music Super Bowl LVIII Halftime Show next year in Las Vegas, the home of his two residencies that combined are expected to exceed $100 million in earnings by early December, according to Billboard’s estimate.
SZA is well on her way. She is the most nominated artist at the 2024 Grammys, with SOS up for album of the year and six different songs nominated in various genre categories. More Black women R&B artists are present in the Big Four categories: Victoria Monét is the second-most nominated, with seven nods, while Coco Jones has five.
Sierra believes that R&B artists like Monét and Jones, both of whom are up for best new artist, have the best shot at elevating to pop music’s upper echelon. “Our next superstars are R&B artists,” Sierra says. “When you think about a pop star, they’re going to be making R&B music.”
This story originally appeared in the Dec. 9, 2023, issue of Billboard.
