"Sandwich and a Soda" is a song by Canadian recording artist Tamia, recorded for her sixth studio album Love Life (2015). Released as the album's lead single in the United States, it reached number 20 on the US Billboard Adult R&B Songs chart.

"Sandwich and a Soda" is a "smoky, jazz-kissed" mid-tempo R&B song written by Tamia along with Stephen Mostyn, Autoro Whitfield, Alicia Renee Williams, Warren Felder, and Andrew Wansel, with production helmed by the latter two under the production company moniker Pop & Oak. Development of the song was initiated by Felder and Wansel, who came up with a "rough idea" of what the song would sound like. Upon hearing a demo of it, Tamia liked the modern but classic instrumental track and decided to join the writing process. Commenting on her first collaboration with Felder and Wansel, she later elaborated: "Pop and Oak are amazing. They have a way of making music that is authentically musical but still very current. It's also about the melody as well. I could literally sing that song with a stand-up bass and it could sound really good."

Built upon word plays, Tamia described "Sandwich and a Soda" as a "fun feel-good song" but remarked that it was "not super literal" however, stating that "it’s not really about a sandwich and a soda. It’s just about taking care of each other. The good, the bad, and the ugly. It’s just about being there [...] about having a good time, driving with the windows down, holding hands". Commenting on what motivated her to release the song as the album's lead single, she elaborated that she chose it "because I thought it was just fun and just a great – it had a great beat and great vibe. And I wanted my first song back after three years from Beautiful Surprise to just show life and have life."

In his New York Times review, writer Ben Ratliff found that the song was the "attention-getter" on the album: "For its first 30 seconds, she whispers over the intertwining patterns of two electric basses, played by real fingers with real hesitations and stickiness; one has the tone of an undergreased hinge. They sound close-up and untreated, punctuated by short chord stabs from an organ, which seems far away and softened by reverb. The song makes you think about distances." He added that "with the microphone at close range, [Tamia] underperforms. And that’s mildly interesting, but there’s so much else going on — layers of keyboards and vocals, buried loops of cries and shouts, the couplet “If you wanna ride these curves/ hop in your Chevy Nova.”

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