womanist

BEYONCÉ: It was a three-year process to create A Seat at the Table. You took your time, and it's still so fascinating to me the amount of production you did for this album, the live instrumentation, with you physically, on the keyboards, on the drums, producing not only the vocals but also co-producing the tracks. It's something to be celebrated, for a young woman to be such a strong producer as well as a singer-songwriter and artist. 

SOLANGE: (...) One of my biggest inspirations in terms of female producers is Missy. I remember seeing her when you guys worked together and being enamored with the idea that I could use myself as more than a voice and the words. On my previous records, I contributed to production here and there, but I was always really afraid to really get in there and ... I guess I wasn't really afraid, I was just really comfortable writing the songs. I felt like my contributions as a producer were enough. But when I started to work on the sonics for this record, I realized that I had to create such a very specific sonic landscape in telling the story. I had these jam sessions, and there were holes that no one else could really fill for me. It really came out of a need for something outside of what I could articulate and lead someone else to do. (...)



BEYONCÉ: Your voice on the album, the tone of your voice, the vulnerability in your voice and in your arrangements, the sweetness and the honesty and purity in your voice—what inspired you to sing in that tone? 

SOLANGE: It was very intentional that I sang as a woman who was very in control, a woman who could have this conversation without yelling and screaming, because I still often feel that when black women try to have these conversations, we are not portrayed as in control, emotionally intact women, capable of having the hard conversations without losing that control. I had not really explored my falsetto as much on previous works. As you said, I have always loved Minnie Riperton, and I loved Syreeta Wright and really identified with a few of her songs that she and Stevie Wonder did. She was saying some really tough shit, but the tone of her voice was so sweet that you could actually hear her more clearly. I wanted to find a happy medium, feeling like I was being direct and clear, but also knowing that this was a conversation that I was very much in control of—able to have that moment, to exist in it, to live in it and ponder it, not to yell and scream and fight my way through it—I was doing enough of that in my life, so I wanted to make a clear distinction of me controlling that narrative. Aaliyah was also a huge influence and has always been. Her vocal arrangements with Static Major are some of my favorite in the world. 


a mana Solange a ser entrevistada pela mana Beyoncé, na Interview Magazine