To overcome our collective dis-ease and ideological polarization, we must practice pluralism. We must continue to experiment, to oscillate between and beyond poles to find solutions.
In an age when the personal is political feels as necessary as ever, we identify most with experimenters who transcend the throwing-shit-at-a-wall, banging-on-pots-and-cans approach. These artists occupy the earthly just as much as they occupy the mechanical and the celestial.
It's tempting to proclaim this moment in black pop as something akin to 2018's political Year of the Woman -- Year of the Sista, if you will. But today's unapologetically progressive female black pop artists stand on the shoulders of a most impressive cohort from the '90s and early '00s.
The prominent Birmingham music festival Supersonic returned for three days of experimental goodness, partly curated this year by Robert Aiki Aubrey Lowe.