In the following interlude, Mathew Knowles speaks about his childhood filled with "integration, segregation, and racism" which left him "angry for years." From there, we transition into "Mad," with Lil Wayne, a song about indignation and anger.Lil Wayne is an interesting choice, given that he received heavy criticism earlier this year for claiming that racism is over and also for saying that he has never experienced racism . Still, his verse is biting with rage without him ever having to raise his voice. That's key, since the song itself is soft and sweet, but focused on anger — a direct challenge to the angry Black woman stereotype. Solange sings at one point, "You have the right to be mad," to her people, a reminder that your anger is valid and real."Don't You Wait" pulsates with elements of funk, drums, and bass before we hear Ms. Tina Lawson proclaim, "There's so much beauty in being Black." Her short interlude is a reminder that celebrating Black beauty isn't the same as being anti-white. From there, Solange segues into "Don't Touch My Hair." It's an electronic/funk track exploring a common experience for Black women: that moment when someone, uninvited, runs their fingers through your hair.Another Master P interlude pops up next, this time about worth and independence, followed by what might be the best song on the album, "F.U.B.U.," a nod to the '90s fashion label For Us By Us.With the track, Solange makes it clear that, for once, "this shit is for us" and no one else. She celebrates the pain and the triumphs of the Black experience. And when she croons, "I hope my son will bang this song so loud / That he almost makes his walls fall down / Cos his momma wants to make him proud / Oh to be us," it makes me smile.The hashtag and idea of "Black girl magic" has become mainstream, but it's revisited here, first in an interlude with a three-person harmony of voices singing “Don’t let anybody steal your magic.” The message continues over to “Junie,” as they sing, “I got so much y'all.” That transitions from a capella to a sound straight out of the '70s, thanks to the heavy bass and shouts of “Jump on it!" The album slips back to its electronic vibe for "Don't Wish Me Well," but at its core, the song stays soulful.The interlude "Pedestals" is yet another reminder for self-care. Master P says, in frank terms, "Black kids have to figure [it] out / We don't have a rehab to go to / You gotta rehab yourself.""Scales" is slow, with staggered harmonies from Kelela. It pounds onward, somewhat distorted, until Master P comes back with a striking end to the album. He says to his people, "We come here as slaves, but we going out as royalty."It's an uplifting end. But after a year like 2016, you're left with the question of where to go from here. It's one Solange poses directly in lyrics and indirectly with this album. It's the million-dollar question in America right now. What comes after the unrest? If this album is any indication, it's healing.