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Clocking it at less than two minutes, “Get Behind Me” marks a change of pace for SZA, who shifts from the victim seen in “Kitchen” to a self-empowered badass. While the interlude come and goes far too quickly, I would gladly listen to SZA say “not today, Satan” over and over again.

While SZA explores far deeper emotional waters later in the album, “What Do I Do” is a fun, radio-friendly bop. She’s of course known for her candid introspection, but “What Do I Do” reminds fans SZA can just make a late-night banger whenever necessary.

A fitting intro for Lana, “No More Hiding” finds SZA manifesting hard. “I wanna be in love for real though / don’t care what it costs me,” she sings. While SOS’s intro was SZA finding numerous ways to say “I don’t give a f–k,” “No More Hiding” opts for a softer landing. SZA is a changed woman, and she reminds fans that Lana will be a much quieter affair than its predecessor.

“I hate to be the one doing the most, that’s what it takes though,” SZA howls on “Scorsese Baby Daddy.” Lana’s sixth track is a raw look in the mirror for SZA, who admits to being “addicted to the drama” while trying to not be too dogmatic about her flaws. “One day, I’ll understand all that it takes to be a lady,” she sings as if to cut herself some slack. The one issue? This song is far too short.

A vibrant song fit for sunny drives with the top down, SZA’s sleek pop number “BMF” is as electric as summertime infatuation. While Lana is filled with plenty of moments of emotional catharsis for SZA, “BMF” just finds the singer catching a vibe over a cute boy. “BMF” is fun breather from the heavier themes to come later in the project, and its always nice to see SZA in her bag having a good time.

“I don’t wanna be just a shell of me,” SZA begs on “In Another Life,” which is another honest dive inward for the R&B star. SZA sounds wistful and nostalgic as she ruminates on how, in another life, her and her beau turned out just fine. It’s SZA’s optimistic disposition that makes this song devastating, as the facts remain that the relationship dissolved just like the one before it.

Sporting production from Lil Yachty, “Chill Baby” is another track that is far too short considering all the personal meditations crammed into its two-minute and 20 second runtime. “Tired of watching people die, literal or figurative, I just want someone to stay around,” SZA coos.

SZA’s elusive song “Diamond Boy” at last sees the light of day on streaming plaforms. The final product is sensual and brooding, as SZA’s voice weaves through guitar plucks, pleading for physical intimacy, empathy and thorough communication. The “shiny” boy in question seems unable to check all  three boxes, and instead fulfills one need at the expense of the others. It’s a relatable ode to dating in 2024, and flexes SZA’s well-known ability to turn uncomfortable human experiences into compelling R&B ballads.

On “Kitchen,” SZA finds herself trapped in a noxious loop with her man, as she knowingly backpedals on her promise to dump his ass and move on. While lyrically SZA shines, what makes this track really hit hard is the unsettling sparkle of its production, handled by SOS-collaborator ThankGod4Cody. The song’s layers, assisted by some ghostly howls from SZA herself, adds to the naivete of the track’s narrator. It feels like SZA’s trapped in a fever dream, as she slowly looses herself more and more in this unhealthy relationship.

Serving almost as a sequel to 2022’s “Kill Bill,” “My Turn” continues to show SZA’s penchant for catchy and multifaceted break-up anthems. SZA sounds alive and energized as she celebrates finally having the emotional upper hand in a break up. She sounds like she’s having the time of her life as she belittles her toxic ex. As someone who has often written about being the one getting dumped, we love to see the tables turn in her favor.

Despite being out for most of 2024, “Saturn’s” philosophical touch packs a heavier punch as it closes out Lana. The soaring chorus, SZA’s frank songwriting, and the overarching vibe of: “What is the point?” hits hard as the album closer as we close out the year. It hurts to be human, and it’s hard to break our patterns, and no one knows that quite like SZA.

With three collabs under their belt this year, it’s clear on “30 for 30” that Kendrick and SZA bring out the best in each other. While “luther” and “gloria” were evident that SZA can help K-Dot tap into his softer side, “30 for 30” is the UNO reverse card we all wanted, as K. Dot encourages SZA to get cockier. The results are favorable for SZA on Lana, as she enjoys her well-deserved victory lap. Over soaring strings and booming 808’s “30 For 30” is the R&B singer permitting herself to bask in her accomplishments.

Spiraling out of her like a journal entry, “Love Me 4 Me” is a testament to the power of radical self-acceptance. Over jazzy drums and kaleidoscopic synths that twinkle alongside SZA’s woozy voice, the singer reflects on self-acceptance and her mortality. She realizes her mom is the only one who unconditionally has her back, and in hindsight realizes a previous engagement made her feel confined. “You never saw me for me,” SZA bemoans before the song breaks down and floats out into space.

Lana’s lead single finds SZA in the driver’s seat, as she questions the value of existence over nothing more than a few gentle strums of an electric guitar. In turn, the minimalism on “Drive” holds space for every version of SZA including her self-sufficient rapper, the sensitive empath, and the heartbroken loner still yearning for human connection. These sides of SZA all brilliantly weave their way into “Drive” as softly as a late night breeze.

Another raw and gut-wrenching look in the mirror, “Crybaby” is a powerful tale of how sometimes we’re culpable in own destruction. “You should really stop smokin’ them Backwoods so you can age backwards, please girl,” the singer pleads with herself. With meandering strings and twinkling synths providing the perfect backdrop for SZA’s serpentine voice, this song will turn anyone into a crybaby.