It is never easy to live in the shadow of a famous brother or sister, erected as a modern icon. The 9 siblings of the Jackson family (with the exception of Janet) know something about it, they who saw little Michael become a world legend. When Beyoncé's name rings out, there's no need to introduce her. When we talk about Solange, connoisseurs will tell the most novices that she is the sister of the first.
It is also easy to compare the two Texas fringes. In the space of 5 months, they both released an album full of strong speeches, as mouthpieces of the condition of many black American citizens. The similarities will end here. If Beyoncé hits hard with Lemonade, Solange is touching with A Seat at the Table. By taking the opposite view of the controversy and going deep into the subject of black American identity and culture, Solange addresses a more informed audience and the result is more than successful.
Aged 30, Solange is on her third album. In 2012, she released the EP True, carried by the excellent single, Losing You, and borrows afro beat rhythms coupled with electro. Solange expresses herself above all through her music, without limits. After all, she has the address book and an artistic vision that allow her to take liberties, much more than many artists.
In A Seat at the Table, Solange makes explicit concretely the racial problems of the United States. Through titles like Weary and Where Do We Go, she seems to resurrect the angel Aaliyah, both by the way she plays with her soprano timbre, and by the musicality chosen, far from current standards. We listen through the 21 tracks of this cake, the plea of an angry young woman, who chooses musical poetry to express her feelings. Strong titles like Mad and Don't Touch My Hair, are the postulate of a community at the end of being stigmatized and constantly referred to an appearance. The most poignant moments come when through interludes, Solange lets her parents, Mathew and Tina, speak. They evoke in turn the experiences, between the demonstrations that opposed them to the Klux Klux Klan, to the accusations of anti-white racism to express themselves on the pride of their origins.
In this album, Solange has no taboo. This may confuse some, but the main interested party clearly implies it. She's not anti-white because she's pro-black. On the contrary, it gives a voice to those who cannot be heard. The album's first single, "Cranes in the Sky", sums up the magic of this album. In one title, she transcribes what a young black American woman can endure, between a swallow of pride and cultural affirmation, always with the feeling of having no place, wherever she is.
There is also no shortage of collaborations. On some tracks, the guests are prestigious between rappers Lil Wayne and Q-Tip, or Kelly Rowland and singer Nia Andrews, on a perfect vocal interlude. Co-produced with Raphael Saadiq (member of the legendary bands Tony! Toni! Toné! and Lucy Pearl), there are only beautiful people on this opus.
Through an equal album, with a perfectly conducted red thread, Solange has produced an album close to perfection, which will not resonate with all listeners, but whose sincerity and depth make it a real musical jewel, between psychedelic R&B and neo-soul with funk sounds.
A beautiful work of modern musical art that will mark the current decade!
