When I Get Home
by Solange
  • Record Label: N/A
  • Release Date: Mar 1, 2019
User Score
7.6

Generally favorable reviews- based on 322 Ratings

User score distribution:
  1. Positive: 243 out of 322
  2. Mixed: 43 out of 322
  3. Negative: 36 out of 322
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  1. MusicSpy
    Apr 2, 2019
    6
    Solange attempts to do a full conceptual album but the poor lyric content, excess of interludes and tired sounds & production made the album boring and without any perspective. (6/10)
  2. theanomalydiary
    Mar 9, 2019
    6
    Have you ever tried to like something to a point where you give it so many chances but you still end up being disappointed? Yeah, that’s what I experienced with this album. It's not bad but it certainly left me wanting more.
  3. jude5420
    Mar 11, 2019
    6
    Pretentious, fragmented, beautiful, quirky and sadly unlistenable. It seems very intentionally “mixed”, as a multi headed dragon fusion of hip hop, jazz,and R&B, and it all seems a bit dope drowsy and feels a bit too “I’m too cool for this trifling school”....So many ideas, spasms, purrs, coohs and jams, that grind towards deadbeats, and so I won’t be back to listen.......

    ....and those    Pretentious, fragmented, beautiful, quirky and sadly unlistenable. It seems very intentionally “mixed”, as a multi headed dragon fusion of hip hop, jazz,and R&B, and it all seems a bit dope drowsy and feels a bit too “I’m too cool for this trifling school”....So many ideas, spasms, purrs, coohs and jams, that grind towards deadbeats, and so I won’t be back to listen.......

    ....and those interlude affectations....    … Expand
  4. spenceryang8
    Mar 8, 2019
    6
    While more eclectic and adventurous than its predecessor, When I Get Home is let down by some stiff instrumentals and Solange's inexpressive singing.

    FAV TRACKS: ALMEDA, BINZ, BELTWAY, DREAMS, STAY FLO

    LEAST FAV TRACK: JERROD
  5. TurkeyBoi
    Mar 1, 2019
    5
    I feel like I may be a little biased considering how much I loved A Seat At The Table, but this new Solange album just feels like a bit of a misfire to me.

    The two best things about this album, Solange's voice and the production, are as brilliant as ever, with some songs being attributed to some of the most intriguing figures in music today, such as Dev Hynes of Blood Orange, Tyler, the    I feel like I may be a little biased considering how much I loved A Seat At The Table, but this new Solange album just feels like a bit of a misfire to me.

    The two best things about this album, Solange's voice and the production, are as brilliant as ever, with some songs being attributed to some of the most intriguing figures in music today, such as Dev Hynes of Blood Orange, Tyler, the Creator and Panda Bear of Animal Collective. The production, across the board is misty, moody, beautiful, and the best thing about this album.

    Solange's voice is also fantastic, weaving some beautiful harmonies into some of these songs, expertly letting her voice float above these wonderful beats, and on first listen, it sounds incredible.

    Unfortunately, bar some of the tracks on this album, When I Get Home seems like a little bit of a disappointment, mainly on the songwriting front and some of the odd features she ends up sprinkling around this record.

    The songwriting on this album is some of Solange's weakest, and on tracks where the production is even slightly weak, or her vocal performance isn't quite as stunning as some of the other tracks, it's awkwardly noticeable. Early cut 'Down With The Clique' features some of the weakest production on the album, and Solange's repetitive and boring lyrics on this track makes it less of a highlight than you would've thought it to be, especially considering Tyler, the Creator was involved in the making of this song, as well as Standing On The Corner on producing duties.

    The track 'My Skin My Logo' is annoyingly repetitive, with Solange's worst vocal performance on the album on here, despite some genuinely great production from Tyler. This track also brings us to another reason why this album didn't sit quite right with me; the features on this album are terrible.

    Two of the high-profile features on this album include lyrical-genius (/s) Playboi Carti and Gucci Mane, and when Gucci comes in on the aforementioned track, his presence seems duly noted, like he was drafted in at the last minute and doesn't know why he's there.

    The Playboi Carti feature on the track 'Almeda' is horrible. This is coming from a guy who adored 'Die Lit'. He doesn't fit the vibe of the track at all! I don't know how he ended up on this song, nevertheless this album, his voice over this slow, R&B cut is so grating and annoying. It's a hilarious moment on the album, but maybe not the effect Solange was going for.

    I do like the general vibe of this album though, it's silky, smooth, lushly produced, and Solange's voice is genuinely fantastic, but too often her feature choices or songwriting lets the album down, which is a massive shame.    … Expand
  6. Evic21
    Mar 3, 2019
    6
    In comparison to "A Seat at the Table", this album is a solid evolution in her sound; however, the album cannot measure up lyrically. How Solange wrote these lyrics without realizing how uninspired and pathetic they sound is beyond comprehension. The album leaves no impact, memorability or something meaningful to say. "When I Get Home" is shallow enough to be played in the background whenIn comparison to "A Seat at the Table", this album is a solid evolution in her sound; however, the album cannot measure up lyrically. How Solange wrote these lyrics without realizing how uninspired and pathetic they sound is beyond comprehension. The album leaves no impact, memorability or something meaningful to say. "When I Get Home" is shallow enough to be played in the background when no one is really listening.… Expand
  7. mik0
    Mar 4, 2019
    5
    I feel like on “When I Get Home”, Solange takes us on a journey. The problem is she’s not sure where are we headed and I’m not sure if I wanna go. The album is a collection of pleasant sounds that form absolutely nothing.

    Solange clearly tried to break particular rules on her latest album, she shouldn’t have cause the result is rather messy.
  8. Counterfeitfunk
    Mar 3, 2019
    5
    Experimentation isn’t always for public consumption even when packaged by Beyoncé’s creative directors. I tried giving the album a few chances but it’s increibly challenging and not sure it’s worth my investment in time.
  9. Vincent
    Mar 4, 2019
    4
    It's trying to be the arty, jazz-inflected follow-up to the Seat at the Table, but fails due to a lack of good songs or interesting direction. The production is the best part.
  10. 20Bit
    Mar 5, 2019
    5
    I honestly have to say that this album is such a disappointment, especially after she release A Seat at the Table
  11. derbas
    Mar 20, 2019
    4
    When she became so boring? Her true ep some years ago was entertaining. This is a snoozefest, even more than "a seat at the table".
  12. srtafozex
    Mar 6, 2019
    5
    Random compositions, confusing tracklist. An explosion of ideas, but poorly developed
  13. hzy0421
    May 13, 2019
    5
    Feels like a super long mediation project to me, where her vocals lie behind the instrumentation most of the time with some standout lyrics & tunes just scattered around. I respect the effort but perhaps this has to be a Nope for me.
  14. clem666
    Dec 3, 2020
    6
    Solange has evolved a lot since 'A Seat At The Table' (which by the way was amazing). The lyrics are still interesting and are linked with some deep subjects our societies are dealing with. However there is a huge musical gap between the two projects. Where 'A Seat At The Table' was chanting, soft and questionning by its words, 'When I Get Home' sounds more incisive in its production. SomeSolange has evolved a lot since 'A Seat At The Table' (which by the way was amazing). The lyrics are still interesting and are linked with some deep subjects our societies are dealing with. However there is a huge musical gap between the two projects. Where 'A Seat At The Table' was chanting, soft and questionning by its words, 'When I Get Home' sounds more incisive in its production. Some tracks are just too repetitive and mellow. We still get close of that RnB style but Solange explores more and doesn't fear to try herself to rap. This lead us to some... let's say... 'strange' collaboration. In fact, Sampha, Gucci Mane, Playboi Carti, The-Dream and Standing on the Corner don't appear in the credits of the album, which is weird because their voices and collaborations are quite recognizable. However, these are some artists I never thought I would encounter in a Solange album. Gucci Mane and Playboi Carti are so far from her and her music quality. Unexplainable for me.
    Interludes (which were good in ASATT) are messy and drafty in here.
    Even if the album is (only) 39-minute long, it seemed to last for hours when I listened to it several times, with the strong feeling of not knowing where we were going.
    I'm sorry to draw such a conclusion but 'When I Get Home' has the same soul to me than 'A Seat At The Table' but with less intensity and effort.    … Expand

Awards & Rankings

11
#11 Best Album of 2019
28
#28 Most Discussed Album of 2019
6
#6 Most Shared Album of 2019

Critic Reviews

All reviews »
Metascore
89

Universal acclaim - based on 25 Critic Reviews

Critic score distribution:
  1. Positive: 23 out of 25
  2. Mixed: 2 out of 25
  3. Negative: 0 out of 25
  1. musicOMH.com
    Nov 20, 2019
    90
    In a year where R&B and hip hop have proved the most innovative and original genres Solange has delivered a brilliantly crafted record that places her right at the top.
    Read full review
  2. The Wire
    May 7, 2019
    90
    Knowles’s instincts guide the cultural conversation in a way that feels healing, intentional and authentically collectiveminded. A well-constructed spell, cast with intention. [May 2019, p.63]
  3. Mojo
    May 1, 2019
    80
    All credit to Knowles, though, whose vision is so cohesive that the 19 short tracks feel like one long, utterly immersive piece. [Jun 2019, p.86]
See all critic reviews »