Solange Takes A Seat At The Table
Reaching #1 in the country, Solange’s “A Seat at the Table” provides a refreshing voice for black women’s struggle for the freedom to express our identity and have our humanity recognized. As our television and computer screens continue to fill with video clips of innocent black men and women being gunned down by police, we often hear the background cries of the women and children, but give little thought to the grieving and healing that must take place when the video ends. A Seat at the Table is a reminder of the importance of giving black women that space.
Black women face trauma in minor and major ways on an almost daily basis. Whether its having loved ones killed by police or gang violence. Whether its loosing their homes and communities to gentrification, job loss or natural disasters. Whether it’s the challenges of health problems. Whether its being forced to modify their hair in order to fit in to the dominate culture or corporate and military structure. Or whether its simply witnessing it done to others. What we often hear and see is the “angry black woman.” Yet, few take the time to listen to the pain, the despair, and the helplessness that precedes. Few black women are given the platform or freedom of expression without judgment, blame and criticism.
Co-executive-produced by neo-soul sage Rapahel Saadiq, A Seat at the Table serves its message in a buttery sauce, with simply stated verses resulting in a satisfied appetite. An invitation for people to check themselves comes with “Don’t You Wait”, which pairs a glazed bass line and Solange’s fluffy falsetto with lyrics about removing negative influences from her life; “Don’t Touch My Hair” uses sparkling synths and drowsy horns as broadsides against those who might deny her and other black women their bodily autonomy; the crusted and trembling guitars of “Don’t Wish Me Well” provide an infused backdrop as Solange revels in her personal growth. “Junie,” a lightly coated tribute to funk pioneer Junie Morrison (Ohio Players, Parliament-Funkadelic), brings Andre 3000’s baked falsetto and a vamping piano into its airy mix.
Seasoned with R&B, which takes into consideration not just the genre’s rich musical history but also its penchant for social commentary, A Seat At The Table produces a flavorful piece that gives voice to black girl magic and we are so glad Solange came to take her place.
