A Seat at the Table Has Never Felt More Necessary

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A Seat at the Table Has Never Felt More Necessary
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In Solange, we find an artist not afraid of sharing our whole essence with the world. In Solange, we find someone willing and eager to reveal that which is true about Black life, not what is palatable. britticisms writes

All parts of us. That means our flaws and our faults and our joy. That means our beauty and our fury and our grace. In Solange, we find an artist not afraid of sharing our whole essence with the world. In Solange, we find someone willing and eager to reveal that which is true about Black life, not what is palatable.

Solange has always made room for the pain, beauty, and joy of Black people in her work. Her attention to detail — from her hairstyles to the many iterations of her creative collective Saint Heron — can’t be understated. I am reminded of the night she headlined the Pitchfork Music Festival in 2017, when Solange and her brand threw an after-party in a cavernous warehouse on the West Side of Chicago.

“Cranes in the Sky,” her Grammy Award–winning lead single from the album, tapped into the more subtle, but still omnipresent ways in which we navigate our blackness in a cruel world. The systemic overwhelm of racism means a solution won’t be found in empty, temporary pleasures. It is too insidious to “drink it away” or “sex it away.” But tracks like “Junie” and “Borderline ” also make space for Black joy. Through this pain we find purpose and relief.

On her next album, 2019’s When I Get Home, Solange hones in on a more specific Black experience — her own — and she chose her hometown of Houston to serve as backdrop. Considered the first Black city in Texas, it wove its way into the record, from the screwed production elements of “Almeda” to the visuals of the album’s accompanying film project. “Blackness will never go away,” she said about making the record. “It’s who I am. It’s what I know.

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