“Ain’t nothing really R&B about me,” Solange Knowles proclaimed on “Fuck the Industry”, her 2008 screed against the music industry. Appended to a fuming blog post, the track was a preemptive strike against what Solange felt was a misguided approach to marketing her album, Sol-Angel and the Hadley Street Dreams, which was only weeks away. The statement was more polemic than descriptive, but its sentiment was clear: Solange refused to be defined on someone else’s terms, even if it meant dismissing years of her own songs and writing credits. The album itself held the same sentiment, reproducing, almost too faithfully, the sounds of Motown and ’70s soul, but Solange’s overall ambitions were clear. Quite simply, she wanted the power to define herself. Eight years later, she has finally succeeded. No longer stuck orbiting her superstar sister (Solange used to be a backup dancer for Destiny’s Child) or so doggedly trying to escape that orbit (see: “God Given Name”), Solange has found her space.