When SZA released BMF on 20 December 2024, as part of her highly anticipated SOS Deluxe: Lana release, it marked the end of a long journey for both the artist and her fans.
The track, formerly known as “Boy from South Detroit,” had been a fan-favourite unreleased song that almost didn’t make it to official release.
Speaking to Rolling Stone in December 2022, SZA revealed the behind-the-scenes struggle to include the track: “A song called ‘Boy From South Detroit’, ‘BMF’, that Twitter wanted really bad, [neither] Rob [Bisel] nor Punch really cared about that song. They weren’t really excited about it. Rob was like, ‘I don’t really think this is the song’, and then Punch was, like, indifferent about the song. Then I was like, ‘No, I really believe in this.'”
How Did BMF by SZA Come to Be Released?
The story of BMF adds another fascinating layer to SZA’s creative process.
SZA mentioned on Instagram live that the track was originally planned to feature American rapper and singer Lizzo.
It was among the anticipated outtakes that didn’t appear on the standard SOS track list, with SZA’s manager Punch and an album co-producer telling her the song wasn’t impressive enough for the initial release.
The Unique Sound of “BMF” by SZA
BMF opens with an interpolation of the iconic “The Girl from Ipanema,” composed by Brazilian musician Antônio Carlos Jobim.
It instantly sets a breezy, retro tone that’s perfect for lazy summer afternoons.
With its playful guitar riffs and jazzy undertones, the track effortlessly channels the essence of bossa nova while infusing it with a sleek, contemporary vibe.
The song cleverly flips the Stan Getz and Astrud Gilberto rendition for its hook, transforming their distant admiration into a bold declaration of desire.
Blake Slatkin and Omer Fedi’s production elevates the song further, incorporating subtle string accents and rhythmically rich drum patterns.
As Rob Sheffield of Rolling Stone notes, this creative reimagining adds a contemporary twist to a timeless classic.
SZA’s “BMF” Lyrics: A Dive into Meaning
At first glance, BMF feels like a playful ode to fleeting attraction and carefree moments.
The recurring chorus “Young and fine and dark and handsome / The boy from South Detroit keep bossing” establishes both the object of desire and the song’s connection to classic bossa nova through its “Girl from Ipanema” interpolation.
SZA transforms the traditional distant admiration of the original into a bold, contemporary expression of desire with “And I can’t keep my panties from dropping / He’s so fly, fly.”
However, as with much of SZA’s work, there’s more beneath the surface. Let’s dive into the standout lines:
Playfulness Meets Honest Vulnerability
In the opening verse reveals the complexity of the relationship, SZA sings:
“Going too fast, don’t hurt yourself / I can’t keep up with all the lies you tell yourself.”
These lines establish a clear-eyed view of the situation, seeing through her partner’s self-deception.
“You kinda cute, but play too much, don’t play yourself” followed by “I’m not the one, but we can still pretend this can be my man” showcases SZA’s characteristic emotional honesty, acknowledging the temporary nature of their connection while choosing to embrace it.
The verse concludes with assertions of independence: “All I ask is don’t make me pull up and get to dumping / You know I can’t give no fucks, you know I’m with all the ruckus” – establishing agency and boundaries.
Verse 2: Power Dynamics
The second verse delves deeper into the relationship’s dynamics: “Ooh, he bossy, ooh, he crip walkin’ / Took me to Slauson and he slut me out”
These lines paint a picture of attraction mixed with street credibility, while “You know I’m hella different from them chickens you been trickin’ on” asserts a unique position in her partner’s life.
The Bridge: Temporary Pleasures
“Blowin’ money fast, it won’t last” serves as both observation and warning, repeated throughout the bridge to emphasise the temporary nature of their connection.
This theme of impermanence runs throughout the song, suggesting an awareness that intense pleasures often come with an expiration date.
Verse 3: Physical and Emotional Intensity
The final verse brings together physical and emotional themes: “Ecstasy is just a pill away” works both literally and metaphorically, while “Love to play your ruler, be your Jane / You could be my Tarzan, toss me up” uses playful imagery to describe their physical connection.
The verse concludes with “That’s why he my man,” showing how despite all the acknowledged complications and temporary nature of their relationship, she fully embraces the present moment.
The Outro: Full Circle
The song closes by returning to its themes of temporary pleasure and conscious choice, with “I’ll make it last, we’ll be— oh-oh” suggesting both the desire to extend the moment and the acceptance of its inevitable end.
As the song crescendos, its dreamy production mirrors the intensity of these emotions, leaving listeners suspended between exhilaration and reflection.
How Does BMF Compare to Other Songs on SZA’s Lana?
Where 30 for 30 explores introspective territory through stripped-back production and raw emotional vulnerability, and Diamond Boy (DTM) delves into tender relationship dynamics, BMF takes a more playful approach while maintaining emotional depth.
Drive embraces ethereal soundscapes and dreamy production, making BMF stand out for its unique blend of retro bossa nova elements with contemporary R&B sensibilities.
Who is SZA Singing About in BMF? Cultural References Explained
The track is rich with cultural touchstones, including a reference to Journey’s “Don’t Stop Believin‘” through the “south Detroit” line.
Additionally, SZA’s mention of Slauson Avenue, a road in Los Angeles, adds depth to the narrative.
Sheffield suggests this could be a tribute to Nipsey Hussle, the rapper from the nearby Crenshaw neighbourhood who was tragically killed on that same road.
Who Produced BMF? Inside the Song’s Creation
Written by Solána Rowe (SZA), Blake Slatkin, Carter Lang, and Omer Fedi, and produced by the same trio, BMF demonstrates the seamless blend of classic and contemporary elements that has become a hallmark of SZA’s sound.
The production team crafts a sophisticated soundscape that perfectly balances the bossa nova influences with modern R&B elements, creating a unique sonic palette that supports both the song’s retro influences and its contemporary sensibilities.
What Do Critics Say About BMF? Reviews and Reception
In his Billboard review, Mackenzie Cummings-Grady ranked BMF as the reissue’s 11th-best track, praising its ability to provide levity and balance among the album’s heavier themes.
The track’s evolution from a disputed inclusion to a fan favourite demonstrates SZA’s artistic intuition and her deep understanding of her audience’s tastes.
Why is BMF Important in SZA’s Career? Legacy and Impact
As the fifth track on Lana, BMF represents both a continuation of SZA’s artistic evolution and a bridge to her musical influences.
The song’s placement alongside more introspective tracks like 30 for 30 and atmospheric pieces like Drive showcases her versatility as an artist.
Its three-minute runtime packs in multiple layers of meaning, from its clever interpolation of a bossa nova classic to its contemporary commentary on relationships and desire.
Final Verdict: Is BMF Worth Listening To?
BMF succeeds in delivering a unique addition to SZA’s catalogue by merging distinct musical traditions whilst maintaining her signature emotional honesty.
The track’s sophisticated production, layered lyrics, and cultural awareness demonstrate why SZA remains at the forefront of contemporary R&B’s evolution.
And as part of SOS Deluxe: Lana, it’s proof that her evolution is far from over.
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SZA BMF Lyrics
Chorus
Young and fine and dark and handsome
The boy from South Detroit keep bossing
And I can’t keep my panties from dropping
He’s so fly, fly
Verse 1
Going too fast, don’t hurt yourself
I can’t keep up with all the lies you tell yourself
You kinda cute, but play too much, don’t play yourself
I’m not the one, but we can still pretend this can be my man
You say you feel different when you with me, tell me anything
Compliment my energy, it’s different laying next to me
All I ask is don’t make me pull up and get to dumping
You know I can’t give no fucks, you know I’m with all the ruckus, can you?
Chorus
Young and fine and dark and handsome
The boy West side of Compton camе walking in
I can’t keep my panties from dropping
He’s so fly, fly
Verse 2
Ooh, he bossy, ooh, hе crip walkin’
Took me to Slauson and he slut me out
And when I got a problem, he get to packing
He ’bout all that action, call him Mr. Handle It
You know I’m hella different from them chickens you been trickin’ on
I can be your ride or die, get down your strongest bone
Trust me, boy, I’m good in every hood
Trickin’, finna fall in backwards
I’m just tryna show you what it would be like if you my man
Chorus
Young and fine and dark and handsome
The boy from South of somewhere came walking in
And I can’t keep my panties from dropping
He’s so fly, fly
Bridge
Blowin’ money fast, it won’t last (Oh-woah)
Tryna make it last, ooh-oh
Blowin’ money fast, we might crash (Mmm)
I’ll make it last, we’ll be— oh-oh
Verse 3
Ecstasy is just a pill away
Pop it up or you could screw today
I’m just tryna hear you say my name
Love to play your ruler, be your Jane
You could be my Tarzan, toss me up
Other hoes is lacking, call me up
Know my baby packing, why I’m stuck
That’s why he my man
Chorus
Young and he fine and he tall and he handsome
Talkin’ so fine, I might hold it for ransom
Put it in drive, I’m not shy, I might let ya
Cruise all night
Outro
Blowin’ money fast, it won’t last (Oh-woah)
Tryna make it last, ooh-oh
Blowin’ money fast, we might crash (Mmm)
I’ll make it last, we’ll be— oh-oh
