I could make the argument that Solange (Knowles) deserves to be appreciated as an artist without being compared to her older sister Beyoncé Giselle Knowles-Carter, but having three siblings myself, I know that the world cannot resist sizing up the differences and similarities between those that presumably share a common gene pool. Solange is probably more recognisable in the public eye for being Beyoncé's little sister than for her 2012 indie smash hit "Losing You", and music critics haven't tried to stay away from comparing the siblings.
The Guardian's Caroline Sullivan, for example, states directly that she lacks Mrs. Carter's 'star quality' and "the steely spined ardour that makes Beyoncé so compelling". Not that all comparisons between the two are negative; Rob HarvillaThe Village Voice's notes that both sisters share "an affinity for high-priced, retro-futuristic r&b, plus a distinctive, insouciant snap to both their voices, whether in soft spoken-word asides or full-on nuclear shrieks".
Solange may not be performing at the Super Bowl anytime soon, but she has already earned herself critical acclaim with the release of her second studio album (2008) (her debut album Solo Star (2002) is basically a forgettable under-performance). As the title suggests (Hadley Street is located in downtown Houston), Solange was inspired by 1960s and 70s Motown, and roped in several retro-gazing producers and songwriters for the album: Jack Splash, Cee-Lo Green, Mark Ronson, and Lamont Dozier.
Cee-Lo Green himself appears in the music video for "T.O.N.Y", an acronym that stands for an unforgettable man (or a collection of men) that her lyrical persona had a one-night stand with and 'The Other Night o whY'. Given that Solange divorced her first husband Daniel Smith in 2007, it's highly likely that there's some biographical references here - the music video certainly seems to support this theory, since Solange's three year marriage to Smith bore a son with the same first name as his father.
The track's appeal isn't in the questionable acronym (which probably isn't going to catch-on anytime soon), but in the track's lurching groove, jazzy guitar strings, and the sophisticated conviction and self-reflexivity that characterises the lyrics from the very beginning:
'T.O.N.Y don't call no moreNo not at all no moreMaybe there's something wrong with his phoneOr maybe it's morning and the thrill is goneAnd I'm not sure if I'm still respectedAnd I'm not in a rush to feel rejectedNot by T.O.N.Y
T.O.N.Y don't care no moreHe doesn't want me there no moreI just wanna know what I did wrongDamn this'll make a real good songAnd I don't have these nights too oftenI wish I could take my mind off itBut I really like T.O.N.Y'
Most of the verses are rhyming couplets, which Solange delivers with assured and intelligent sass. She convincingly creates a nuanced lyrical persona that seems confident in her independence and autonomy, regardless of her conflicted feelings about her short-lived romantic dalliance(s). She manages to stay honest about her romantic feelings, aspirations and insecurities without ever coming across like a pathetic doormat:
'Me and T.O.N.Y don't speak no moreIt's almost been a week oh noMy the time it goes so fastBut I still refuse to call his ass'
Solange's wistful declaration of emotional independence in the song's bridge - (Ooh) Now I'm feeling free - is convincing not just within the song's context, but in her own artistic direction. The comparisons to her more famous older sister will always be made, but music listeners who appreciate her for the occasionally bizarre but always delectable soundscapes that she brings to the table will rejoice in the fact that she's decided to do her own thing and pave her own musical career, unencumbered by 'Queen Bey's' intimidating legacy.
