In 51 minutes and 43 seconds, Solange manages to weave more into A Seat at the Table than most artists could do in twice the time. This album oozes Black creativity and speaks eloquently of the moment in time in which we exist. Black rage, Black pain, Black empowerment and affirmation are all at center stage for everyone to see.
Going in a completely different direction than her previous work, A Seat at the Table is an album about life, pain, and survival while being Black in America. Vocally, Solange excels, using her sweet, smoky soprano to illustrate the Black experience from her perspective as a Black woman walking out of her 20s and into her third decade of life.
Although Solange is, without a doubt, the headliner of this concert, her performance is not what ties the album together; it’s the interludes from Master P, Mama Tina, and Matthew Knowles that do that. They do a great job of showing us where Solange has gotten much of her inspiration for these magical songs. Their stories guide the music and, in some ways, give life to Solange’s lyrics. Given the nature of its sound and content, it makes perfect sense the album is surrounded by the spirit of Prince. I’m sure the Purple One is pleased.
I’d be extremely remiss if I didn’t speak to the marvelous nature of the production on this project. From the lush, tranquilizing soundscape of “Cranes in the Sky” (produced by the incomparable Raphael Saadiq), to the funky “Don’t Touch My Hair” (produced by Sampha), the production serves as the perfect companion for Solange’s phenomenal lyrics.
Overall, this album is everything and more. From the soundscapes to the beautiful, unapologetically BLACK lyrics, this project is simply amazing.
Standout tracks: “F.U.B.U.,” “Where Do We Go,” “Junie”
