Solange, When I Get Home | Album Review 💿

Nearly three years after releasing A Seat at the Table, Grammy-winning R&B artist Solange returns with her fourth studio album, When I Get Home.

Solange has proven throughout her career that she is a restless, unpredictable musician. That’s part of her appeal.  Furthermore, the Grammy-winner (“Cranes in the Sky”) has done a terrific job of separating herself musically from her sister, Beyoncé.  Her third and best album, A Seat at the Table arrived in 2016 to rave reviews, not to mention the aforementioned Grammy win and a number one debut on the Billboard 200.  Following up that juggernaut is an arduous task, but her fourth studio album, When I Get Home is definitely her most adventurous yet.  Honestly, it takes a couple of listens to digest everything that is presented on When I Get Home. 

“Things I Imagined” 

Early on, it’s clear that When I Get Home is a unique listening experience. Opener “Things I Imagined” kicks things off enigmatically and lushly, incorporating elements of soul and jazz.  Lyrically, Solange isn’t profound, leaning on repetition, coupled with the ‘vibe’ of the record itself.  Still, “Things I Imagined” packs a punch and definitely sets the tone. “S McGregor (interlude)” follows, preceding the laid-back, jazzy ✓ “Down with the Clique.”  The production is quite ear-catching, particularly those jazz cues, while Solange delivers absolutely angelic vocals.  Again, the lyrics are spare, with plenty of repetition appearing on the infectious chorus, led by its harmonized vocals.

Houston, Texas is well-represented on follow-up ✓ “Way to the Show,” where Solange keeps the lyrics simple, yet still concocts a unique blend of soul, jazz, and hip-hop. The homage to Houston is led by the key lyric, “Way to the show, candy paint down to the floor.” Following one of many interludes throughout When I Get Home (“Can I Hold the Mic (interlude)”), “Stay Flo” continues what could be characterized as an extended Houston vibe.  The verses embrace hip-hop to the fullest, though Solange maintains melody, singing as opposed to pop-rapping, even with intentionally repetitive lyrics.

“Dreams”

The lush “Dreams” gives When I Get Home another pleasant, totally warm moment, keeping things short but ultimately sweet.  Lyrically it’s thoughtful, but once more, uncomplicated.  One of the most adventurous records follows the “Nothing Without Intention (interlude),” ✓ “Almeda.” “Almeda” brings some big names along for the ride.  First of all, Pharrell Williams serves as co-producer, naturally giving “Almeda” a distinct, other-worldly sound.  Also, Solange is assisted by The-Dream on the refrain, and by Playboi Carti on the third verse.  “Almeda” is ambitious AF, encompassing black positivity despite adversity, while still keeping the lyrics simple and repetitive.

The generally slow, haunting ✓ “Time (is)” pairs Solange with a previous collaborator, Sampha (“Don’t Touch My Hair”).  Once again, the pair strikes magic, though it is Solange that is the main attraction, with Sampha playing the supporting role.  Musically, “Time (is)” successfully embraces alternative R&B, neo-soul, and jazz.  Yet another gem follows with ✓ “My Skin My Logo,” which features tongue-n-cheek vocals imitating Gucci Mane.  Not only does Solange imitate the mush-mouthed southern rapper, he also appears on standout, notably co-produced by Tyler, the Creator.  This is another well-executed record, thanks in part to the personnel.

“Gucci got that grill, Gucci got the chill
Gucci comin’ down with the lame, got the feels
Gucci on his sheets, Gucci on his feet
I didn’t want a soccer, she had Gucci on her cleats.”

 “Jerrod”

“We Deal with the Freak’n (intermission)” is a meaningful interlude, focusing on the magnificence of women.  The lush, smooth “Jerrod” follows, once again harmonically embracing jazz, while remaining idiomatic of the urban contemporary script.  The segue into “Binz” is pretty sweet, as are the vocal runs on “ahh” and “ooh.”  Following the intro, Solange is once more heavily influenced by rap, flexing on the verses while also referencing ‘CP time’ (“Can’t no see me, no flex, be kind / Dollars never show up on CP time.”

The simplicity of When I Get Home continues on “Beltway,” which features a total of only four different words (“don’t,” “You love me,” and “Lone”).  Give Solange credit – she sings the spare, abstract lyrics sensationally. “Exit Scott (interlude)” precedes “Sound of Rain,” another wacky, Pharrell Williams co-production.  Solange embraces feminism, particularly on moments like “Let’s go, nobody givin’, addressing me / So nobody dress can ‘effeminate’ me” or even the outro where she asserts, “Swangin’ on them… / Your girl, she go hard in the baste.”  Following the penultimate “Not Screwed! (interlude),” “I’m a Witness” fittingly concludes the LP.  It’s not the crème de la crème, but it’s successful.

Final Thoughts 

All in all, When I Get Home gives Solange yet another unique R&B album. It’s not quite as accomplished as A Seat at the Table, but it is arguably bolder despite its simplicity.  If you are a fan of more straightforward R&B, well, When I Get Home might not be your cup of tea. If you are more open-minded, and enjoy alternative R&B, this project will likely tickle your fancy.

✓ Gems: “Down with the Clique,” “Way to the Show,” “Almeda,” “Time (is)” & “My Skin My Logo”

Solange • When I Get Home • Columbia • Release: 3.1.19

Photo Credit: Columbia