This article was a collaborative piece by Paul Barnes and Amani Allen-Beale
When I Get Home does not follow the traditional structure of an album. There are six interludes with most of them being under 30 seconds. The longest song on the album is 3:56 which is an average length for most conventional songs – but this project is not not built on the average or the normal in the slightest. Many people feel that the album flows like a series of demos and I can agree with this but I also have no issue with it. Short songs come in, do what they were designed to do, and leave. The repeat button is there for a reason. The longer songs have beat switches/transitions that flow seamlessly and give the song life as it creates a new experience for the listener in real time whether they are ready or not.
As Solange said herself in the conversation she had at the premier of the album’s short film:
“Obviously with A Seat at the Table I had so much to say,” she said. “With this album I had so much to feel. Words would have been reductive to what I needed to feel and express. It’s in the sonics for me.”
If I was forced to put a genre label on When I Get Home, I’d call it Intergalactic Soul Hop. There are songs you can dance to, songs you can rap with, songs you can fall asleep to – and transitions that are so perfect you have to run them back at least twice to hear how smooth they are. Let’s discuss the latter first. On the closing moments of “Jerrod” as Solange’s vocals dance around the bassline that transitions into the horn/synth melody that fuels “Binz”. It’s a moment where the instrumentation and subject matter are linked so perfectly it’s as if they are actually one song. “Exit Scott” which features a sample of Steve Lacy’s beautiful track “4ever” drops out right as it’s peaking to lead into Pharrell’s trademark four count to begin “Sound of Rain”. It’s a wonderful moment near the end of the album when we see how the top of a crescendo always yields exceptional results.
My personal favorite track on the album is the aforementioned “Sound of Rain” as it captures all the best elements of the album into one single track: an otherworldly melody, the perfect amount of bounce, layered and blended vocals and it just sounds good. And of course the beat switch! Another favorite is “Beltway” and while it is short and repetitive it’s the perfect song to fall asleep to. It’s like setting a ship on cruise control in space and just floating along as the stars dance around you. Then as the synths expand as the track closes there’s a subtle cash register noise that pops in just to give the track a sprinkle of extra uniqueness. Now I’d be remissed if I didn’t discuss standout tracks like “Almeda ” and “Binz ” the latter of which we touched on earlier. We all knew Carti was gonna be on the album prior to it releasing but I don’t think any of us expected him to come in how he did on “Almeda”. Solange already gave us an anthem with her list of all things black and then Carti (preceded by The Dream) floats in with his unmistakable baby voice flow and coasts all over the beat as his ad libs bounce all over the stuttering drums. It’s a moment that worked perfectly and gave us “Binz” is probably the most fun (and easiest) track on the project to sing along with and that’s how you know you’ve got a hit. Basically every line in the song is quotable and the hook by The Dream (not Kali Uchis as many people thought on the initial listen) is the perfect moment in between Solange’s verses.
Imagine dropping the bar “I didn’t want to sock her she had Gucci on her cleats’ ‘ as Gucci Mane himself ad libs for you and then proceeds to drop a verse. Then to have Tyler, The Creator come in with a refrain to close out the same song? A blending of worlds we never imagined we’d get but Soalnge gave it to us and it worked – again. “My Skin My Logo” is yet another fantastic track with surprise moments and the ever present beat switch that fits right into the black excellence and auditory bliss this album oozes.
Interludes on albums can serve several purposes: they can be instrumental portions or voicemails that signal a shift of the direction of the album. Or, they can be comedic skits with voices we know and love – or hate. In the case of When I Get Home they serve as a segue between tracks that provide beautiful transitions or signal a shift in tone. And they’re unique in their own way as expected. “Can I Hold The Mic” uses the same technique as the opening track on the album as Solange’s voice is in perfect synchronization with the keys while “Nothing Without Intention” gives us a small glimpse of the atmosphere we’ll be getting on “Almeda” while also giving us a mantra we can all live by. It’s as if these interludes are brief glimpses in Solange’s mind as we pass through the full experience that this album is.
When I Get Home takes us on an auditory journey through space, the south, Solange’s journal and her mind. It’s so many layers and sounds throughout the album that you’ll probably hear a new sound each time you listen to it. It’s an album with quotables and songs you can dance to or lay down and look a the stars while you listen. It’s an album that once you’ve finished listening it wasn’t just something you heard – it’s something you experienced.
After letting the album marinate with us for a few months, Solo has recently wrapped up her tour for When I Get Home. Not only did the tour remind us of the amazing sounds and rhythms, but it wasn’t an ordinary tour. Sure, Solange went to multiple venues and performed her sophomore album in front of thousands, but what made this tour stand out immensely was the visuals, the choreography, and the location of her venues.
Staying true to her aesthetic, Solange’s stage design was very artistic and minimal with a splash of elegance. With a live band behind her and her remarkable backup singers, the performance is also topped off with a staircase full of young Black dancers.
Now when When I Get Home dropped, it paid a lot of homage to Solange’s hometown of Houston, Texas — from the videos to the slowed and reverbed mixes on songs like “My Skin My Logo” and “I’m A Witness”; which Texas is known for. So I’m short, the tone of this album was very Black and Solo made sure to keep the flow going into her performances. Teaming up with different art venues and museums, Solange began to bring Black art in white spaces in a very unique way. While some may argue this isn’t notable, seeing Black art in this setting directly in the face of wealthy white people is exactly where the art industry is currently going. As you can see from Twitter user @NicoKartel, Solange is doing just that. What makes Solo’s movement so intriguing to watch? Well, she’s very unapologetic about her Blackness and where she grew up. Giving us Black southern realness in the face of white critics is something everyone wants to watch.