Crystallized introspections on the renewed scrutiny of America’s deep-seated racism, Jamila Woods’ solo debut Heavn shouts the resilience of a protest album, but with joy in the face of oppressive and cold realities. A sweet cadence and buttery phrasing, the Chicago artist rounds out sharp truths through the celebration of black experience: Sunday church congregation (“Holy”), black girl magic (“Bubbles”), Roy Ayers’ Afrofuturism (“Way Up”), Harriet Tubman ruminations (“Blk Girl Soldier”), and watercolor jazz and hip-hop dispersed. Even through the death of slavery and police brutality, Heavn imagines a world where “not even death could stop them.” (Thu. 16, Barracuda Backyard, 1:05am)

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This article appears in March 17 • 2017.

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