It’s been a few months since the intensely anticipated sophomore album of singer-songwriter Solána Imani Rowe — professionally, SZA. The album “SOS” has garnered immense success, remaining number one on the Billboard 200 for its seventh consecutive week and surpassing over 1.4 billion streams since its release. 

It is no surprise that the ethereal melodies, captivating vocals and brilliant lyricism of SZA’s latest work haven’t gone unnoticed. 

But what has yet to be at the forefront of public concern is SZA’s recent assertion that she’s putting music to rest due to the mental hurdles and corporate battles she has fronted to provide for her fans. 

Supporters of SZA should be understanding of her need for space — she has endured constant criticism by the media for not releasing music, along with the obstacles her label puts in front of her. 

Yet her needs are met with stern resistance from the public.

Prior to the release of “SOS,” SZA appeared in a few interviews discussing her feelings regarding the album’s debut. Many of her responses included ideas of constantly feeling under pressure and wanting to step away from the music industry. 

In her interview with radio station Z100 New York, SZA stated, “I want to be empty so I can disappear,” referring to her desire to release her current repertoire of music until she indefinitely has nothing left to give.

It’s evident that creating an album that lived up to the impact of her debut “Ctrl” has taken a toll on her mental stability, so fans should be forgiving of her need to fade out from the spotlight. However, what persists is overwhelming discontent.

Along with an invasive public eye, SZA faces a seemingly endless battle with her label. 

In an interview at the 2022 Met Gala, SZA teased an upcoming summer release for her album when she mentioned that it would be a “SZA summer.” Summer passed, and fans were in an immediate uproar over her false claims, to which she blamed the president of her label — Terrence “Punch” Henderson Jr. — and RCA Records.

With her past frustration toward Punch not releasing her debut “Ctrl,” fans should realize another delayed album drop is out of her control. 

Without knowing the whole story, it is hard to discern the extent of accountability on those involved. But what is apparent is SZA’s exhaustion as a result of imprudent scrutiny and the soul-leeching wreck that is the music industry.

Being under constant fire from her label and fans, it only makes sense to feel depleted both artistically and socially. Hence why any opposition to her wish to take a step back is unjustifiable, and quite frankly, ruthless.

“SOS” exudes themes of yearning for self-isolation with lyrics like “I need more space and security,” and “I live to escape.” In many ways, that desire can be attributed to people in SZA’s life falling short and lacking humanity. 

It begs the question: did the fans play a role in eliciting the album’s themes of craving detachment from a constant vindictive lens?

Regardless, the least fans can give is the leniency and space SZA so desperately craves. The title “SOS” should speak for itself.

Matthew is a sophomore in LAS.

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