A chart-topper in several territories, "Kill Bill" was SZA's first number-one on the Billboard Global 200 and US Hot 100 charts. The song spent eight weeks at number two on the Billboard Hot 100 before an April 2023 remix featuring American rapper Doja Cat propelled the solo version to the top, tying for the second-longest time at number two before reaching number one. On US Hot R&B/Hip-Hop Songs, it broke the record set by Lil Nas X's "Old Town Road" (2019) for the chart's longest-running number one, with 21 weeks. "Kill Bill" was one of the top 10 best-performing songs of 2023 in several countries, and according to the International Federation of the Phonographic Industry, it was the third best-selling single of 2023.
"Kill Bill" was praised primarily for its songwriting; critics liked its poetic quality, diaristic honesty, and relatability despite the violent content. The original version and the remix were placed in many year-end listicles for 2023, and in February 2024, Rolling Stone placed "Kill Bill" at number 267 on their list of the 500 greatest songs of all time. The song received many industry award nominations, including three nods for the 66th Annual Grammy Awards. "Kill Bill" won Song of the Year at the 2024 iHeartRadio Music Awards, as well as Top R&B Song at the 2023 Billboard Music Awards and Video of the Year at BET Awards 2023.
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A music video for the song premiered the same day as its single release. Directed by Christian Breslauer, it reimagines several scenes from the Kill Bill films, with SZA as her version of the films' protagonist and Vivica A. Fox, one of the actresses who starred in the duology, in a supporting role. SZA confronts her ex-boyfriend at the end and tears his heart out, and the outro features her suspended by a rope using the shibari technique. On the SOS Tour, where she first performed "Kill Bill" live, she recreated various visual elements from the film duology and the music video, such as the costume. Other live performances also involved choreography inspired by the Kill Bill films, featuring background dancers who brandished swords and participated in fight scenes onstage.
SZA released her debut studio album, Ctrl, in 2017. Primarily an R&B album that deals with themes like heartbreak, Ctrl received widespread acclaim for SZA's vocals and the eclectic musical style, as well as the relatability, emotional impact, and confessional nature of the songwriting. The album brought SZA to mainstream fame, and critics credit it with establishing her status as a major figure in contemporary pop and R&B music and pushing the boundaries of the R&B genre.[note 1]
SZA alluded to possibly releasing her second album as early as August 2019,[8][9] during an interview with DJ Kerwin Frost.[10] It, she said, retained the candid and personal qualities of Ctrl. In her words, the album was "even more of me being less afraid of who am I when I have no choice[,] when I'm not out trying to curate myself and contain."[11] When SZA collaborated with Cosmopolitan for their February 2021 issue, she spoke about her creative process as such: "this album is going to be the shit that made me feel something in my...[heart] and in [my gut]".[12]
"Kill Bill" was produced by Rob Bisel and Carter Lang, who wrote the song with SZA.[30] Its creation, by SZA's account, was "super easy", and she deemed it a "one take, one night" type of song.[note 2] While work on SOS had begun by 2019, "Kill Bill" was recorded in 2022 alongside a significant number of other tracks due to bursts of productivity from time pressure. Lang commented, "that's when [we] started feeling like, hey, 'We gotta do this shit like, it's been some years.' We bottled up that energy and everything was just sort of a preparation for that moment."[30]
Production began around May 2022 when Bisel, in his Los Angeles home's Ponzu Studios, played some chords on his Prophet-6 synthesizer. With it, he used Ableton to sample the synthesizer's flute-like sound. After adding a bassline from an electric guitar tuned down an octave, Bisel was unsure where he wanted the song to go, so he sent the Ableton clip to Lang for assistance.[23][30] Lang's first approach to the beat consisted of a singular rhythm, which was an electronic fusion of bouncy bass drums, Roland TR-808 snares, and 16th-note hi-hat beats.[32] Settling on a polyrhythmic production with a swing style, he took more beats from a separate, vintage drum machine and made them twice as slow as the first approach, and he added more guitars and bass on top.[23][33] The two also incorporated a choir and backing vocals into the song. Most of the final version's instruments were recorded at Lang's home studio in Chicago.[23]
Bisel asked Punch, president of SZA's label Top Dawg Entertainment, if he could mix "Kill Bill" on his own, to which Punch agreed. To Bisel, if anyone else took the task, the sonic vision he conjured for the song would get diluted: "I really wanted to see it through all the way to the end." His mentality for the sessions, which consisted of 120 tracks, was mixing the song "as if [he] had never heard the song before", a departure from his usual approach. Since reinforcing the song's boom bap influences was his primary goal, part of the task was making the drums from the rough recordings louder.[23]
SZA told Glamour in 2022 that many tracks in SOS centered around themes of revenge, heartbreak, and "being pissed": "I've never raged the way that I should have. This is my villain era, and I'm very comfortable with that. It is in the way I say no [...] It's in the fucked up things that I don't apologize for."[36] The premise of "Kill Bill" is heavily based on the Kill Bill films, a reimagining of Thurman's tale of revenge. Shaad D'Souza of The Guardian wrote that unlike the films, however, the song "provides no real emotional payoff; its narrative is a cry of pure fatalism, with no return for its narrator other than a split-second of bloodlust".[28]
"Kill Bill" was written during one of what SZA called "palate cleanser" moments, sessions where she would quickly write full songs in between ones she took more seriously and wanted to meticulously finish.[37] With "Kill Bill", she wrote all of the lyrics on-the-spot in under an hour.[34] What resulted was a song about a protagonist who goes on a quest to avenge her broken heart by murdering her ex-boyfriend for quickly moving on from their relationship.[18][20] The violent lyrics are juxtaposed by SZA's soft, croon-like vocals, suggesting wholesomeness.[38] Due to the violence, some radio stations played a censored version of "Kill Bill" with the word "kill" replaced by the sound of a slashing blade.[39]
In the first verse, the protagonist acts analogously to Bill, resentful about the new girlfriend that her ex-boyfriend has met: "Hate to see you with some other broad, know you happy / Hate to see you happy if I'm not the one drivin'."[18] Restraining her murderous urges, she tries to look at the situation from a rational perspective.[20] In a Slant Magazine review, Paul Attard writes that SZA explores how intense love and intense anger towards somebody can often coexist with one another. In spite of her fury, her love for her ex-boyfriend persists.[13] She tries to navigate her issues through consultations with a therapist, making her dryly say she is mature and mockingly congratulate herself for it.[20][40][41]
Her therapist has advised her to seek other men, but she loves her ex-boyfriend to such a degree that she would rather still be with him than with anyone else. According to her, if she cannot have him back, then "no one should".[4][42] What follows is the hook, in which she openly fantasizes about killing him and his new girlfriend. She acknowledges, self-aware, that her intrusive thoughts are unhealthy and wonders "how'd I get here?"[43][44] Some critics argued that SZA amplifies the hook's unsettling nature and criminal themes using melodies evocative of lullabies.[5][44][45] For Philippine Daily Inquirer journalist Carl Martin Agustin, the hook conjures the imagery of "the bride preparing her mark for his eternal slumber".[19] Thurman's character manifests itself within SZA in the hook, moving the perspective away from Bill's. Despite hesitations, she begins her plans for revenge. SZA ends the hook with the line "Rather be in jail than alone."[18]
The song's next lyrics narrate how she carefully peruses past messages with her ex-boyfriend that might implicate her in the murder.[20] The final hook contains several line changes[18] that mark the culmination of the violent ideations that manifested in the first hook. SZA enacts the double homicide, solidifying the song's nature as a murder ballad.[46] Reasoning with herself, she claims what she did to her ex-boyfriend was an act of love[29] and is not something that she regrets doing.[4] Music journalists from Triple J[47] and Pitchfork found this humorous; Pitchfork's Julianne Escobedo Shepherd wrote: "It's so funny to imagine killing someone and his new girl and then have a fleeting second thought about it. Like, 'Maybe I shouldn't have done that. Oh well!'"[46]
The last lyric of the final hook, and the last lyric of the song, contrasts with the first hook. "I might kill my ex, not the best idea / His new girlfriend's next," becomes "I just killed my ex, not the best idea / Killed his girlfriend next."[18] This final lyric shows her admission she would pick damnation in hell over his absence from her life. The "Rather be in jail than alone" from the previous hooks becomes "Rather be in hell than alone."[18][48] Some critics wrote that the last line unveiled the song's underlying tones of loneliness and turned "Kill Bill" into a tragedy.[46][49] In Nylon, Steffanee Wang thought it "will make you wonder how SZA can generate such devastation from such simplicity".[50] 152ee80cbc