Solange holds her seat with ‘When I Get Home’
The critically-acclaimed RnB star returns with a riskier follow up to ‘A Seat At The Table’.
Following the release of her critically acclaimed 3rd studio album, A Seat At The Table in 2016, Solange drops When I Get Home — an understated yet dense piece of work that doesn’t stray too far from her established style but does evolve it into something that is more confident in its quietness.
With the release of A Seat At The Table, Solange cemented herself as one of the leading voices in contemporary RnB. Hits like Don’t Touch My Hair, Mad, and Cranes in the Sky proved Solange was not an artist in the shadow of a superstar sibling, but instead, an individual with something to say about Black culture in America, and who could do so with a distinct level of artistry.
When I Get Home hits similar notes in subject matter, but it is more challenging in its form. As a result, I expect some of the listeners Solange gained with her last album may struggle with their first bite of this. But if they give it time and attention, they will unpack a rich and intimate experience.
When I Get Home doesn’t lean on any obvious singles. When there is a climax, it exhibits expert restraint not to turn into something with a conventional structure. Its presentation is understated, and prioritises the cohesion of the entire piece over any one song, with each feeling like a part of a whole. Little indication is given for where one track finishes and another begins, and every new direction the album takes is one that connects tonally with its other moving parts. This makes for a dreamlike flow, enhanced by the floaty instrumentation and vocals.
The constantly evolving tones, in conjunction with its 39 minute runtime, makes the musical journey feel a lot longer than it is. Its production ties it together more so than any other element. In collaboration with the likes of Tyler, the Creator, Pharrell Williams, and Playboi Carti to name a few, Solange hits similar notes to the sound on A Seat At The Table. Jazz, Hip-Hop beats, and Solange’s soft (yet strong) vocals are the driving forces here.
However, the style radiates confidence in being somewhat lower-key than the previous album, asking you to trust that it knows where it wants to take you, even if the ride feels slower in comparison. The biggest challenge of trying to make a cohesive mood piece for an album is in achieving diversity in its sound. When I Get Home might feel slow at times, but is never a drag. Every song and interlude is loaded with its own nuances and personality, taking its time to show it to you, then demanding you to listen to it again in nothing less than its entirety.
When I Get Home will reward you for your attention with a focused and masterful piece of artwork that offers a lot to chew on. It’s full of sexuality, gentle grooves, celebration and dreamy musical exploration. If A Seat At The Table was a definitive statement about what kind of artist Solange wanted to be, then When I Get Home is an advancement from the standard she set. The risks she takes here make for a less accessible album, but are also what make it her best work to date.
