Recent events concerning some prominent female figures in pop music might lead you to believe that there's little substance in a lot of their output.
In a drawn-out feud comparable with Mayweather versus McGregor, Katy Perry and Taylor Swift fought it out for the title of 'Pettiest In Show'.
Perry released clap-back track Swish Swish with Nick Minaj, and Swift re-gifted streaming services with her back-catalogue - the day Perry released new album 'Witness'. Ouch indeed.
And while it was entertaining to watch the whole thing play out, it kicked off a commentary on female artistry and rivalry - just how healthy is it actually to spectate on something so passive aggressive, something seemingly anti-feminist?
So, SZA's debut album 'Ctrl' couldn't have come at a better time. She approaches the topic of female competition, specifically in the context of relationships, in a particularly refreshing manner.
The wait for this album was a long one - even for SZA herself. Long stretches of album delays and conceptual reworks (the original title was 'A', to follow a series of themed mixtapes), as well as extended periods of of self-doubt meant she almost quit the business.
It's almost surprising then, just how self-assured 'Ctrl' is, while still maintaining a level of vulnerability and openness.
Having previously described her musical style as a hybrid of jazz-influenced R&B and self-described 'glitter-trap'. It's this production that makes 'Ctrl' an Alice In Wonderland trip through female growth.
Coolly confident
It takes a ballsy artist to borrow influence from supergroup Wu-Tang Clan - something she acknowledged in an interview with Rolling Stone magazine.
"I got a lot of crap for being named SZA but not being affiliated with Wu-Tang, and being a girl," she said. "People were like, 'Who the fuck do you think you are? How dare you?' Even to a point where I wondered, would anyone from the Wu respect me?"
There's an authenticity to every moment on this album where she asserts her worth - Doves In The Wind, despite a dodgy verse from rap kingpin Kendrick Lamar, is a dominating parade of sexual empowerment, with a nice little Forrest Gump reference thrown in for good measure.
Similarly, The Weekend sees her flip the script on the concept of being the other women, or the 'side chick'- demonstrating sexual prowess in a way that makes a statement, not a song and dance about a woman in control of her body and her choices.
But it's not all strength and power - 'Ctrl' provides an almost perfect balance of vulnerability and confidence. Supermodel's lyrics speak volumes - "Leave me lonely for prettier women/You know I need too much attention for shit like that/I could be your supermodel if you believe."
SZA's is fully in control of her narrative though, sliding in a slight at an ex who ghosted her on Valentine's - so naturally, she slept with one of his friends.
"Let me tell you a secret/I been secretly banging your homeboy/Why you in Vegas all up on Valentine's Day?"
The start of a journey
What's most exciting about this project is probably what's still to come from SZA. Something this polished, something this eloquent, something this passionate - it tends to come only come along once in a while, and spells good things for an artist's career in the long-run.
While 'Ctrl's is obviously a very personal journey of self-discovery, thematically, it will resonate across the board. It's honest, while remaining accessible.
SZA's 'Ctrl' presents one of the most introspective looks at humanity, love and growing up, examines female rivalry in a way that is unusual for mainstream releases the majority of the time, and most importantly, just sounds really really good.
