So much of your identity in junior high is built on who you're with. You see the world through the lens of how you identify and have been identified at that time.

I think every generation has that movement of hip-hop that you know you're playing it and you definitely have that moment of like, "Why am I saying this so enthusiastically? Why am I so stoked and psyched to say these lyrics?"

There's a lot of situations where I feel irony involved when R&B and hip-hop is expressed in the indie worlds. There's a lot of times when I feel like the juxtaposition becomes a thing.

I think many people, especially from other cultures, just don't understand the role hair plays in Black women's lives.

The album ['A Seat at the Table'] really feels like storytelling for us all and our family and our lineage.

I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."

I always have looked at "indie" as a term of "independence." Never associated a sonic gesture with that in the same way that pop music has always meant "popular" to me it didn't define a sound. And I think now that has been the context for things. If something is indie, it almost has this sonic association with it, or pop has become this term of shame almost, like, bubblegum sweet pop.