Solange Knowles has unveiled the latest installment of her Eldorado Ballroom series, set to take place at the Los Angeles Philharmonic October 10-13, via an announcement on Instagram. The “Cranes in the Sky” artist revealed an eclectic lineup featuring orchestral works by Julia Perry, Patrice Rushen and Knowles herself.
This Saint Heron-backed series follows the 2023 debut of Eldorado Ballroom at the Brooklyn Academy of Music (BAM) and Knowles’ 2022 scoring debut at the New York City Ballet. With her debut at the New York City Ballet, Knowles became the first Black woman—and only the second woman of color—to compose a score for a production by the company, which has a history spanning more than 70 years. Knowles has shifted away from traditional performance formats in recent years, embracing more intricate and varied mediums, as evidenced by her orchestral series and the 2023 performance art exhibition In Service to Whom. Tickets for Eldorado Ballroom are available at laphil.com now.
Eldorado Ballroom is named after the iconic Houston nightclub that played a pivotal role in shaping Knowles’ deep-rooted passion for music and performance. The series is composed of three distinct shows: “On Dissonance: An Evening of Classical, Symphonic, and Opera Works by Black Women Composers and Conductors,” “Contrapuntal Counterpoints: Experimentation In Funk, Soul, and Jazz” and “Glory to Glory: A Revival For Spiritual and Devotional Art.”
In addition to her own vocal performances, Knowles promises an array of collaborators spanning R&B, soul, gospel and classical music. The lineup includes the reunion of the musical duo J*Davey, along with appearances by Bilal, Cooper-Moore, gospel legend Glenn Edward Burleigh and more. Burleigh’s contribution, composed in Houston—both his and Solange’s hometown—highlights Knowles’ unique ability to collaborate with her influences while simultaneously paying homage to them.
For years, Knowles has consistently moved beyond conventional performance mediums typically associated with singers, opting instead for more dynamic expressions of concepts and sonic delivery. Her infrequent recordings and public performances offer a more intimate and unique artistic experience, requiring audiences to be fully present, an approach that stands in stark contrast to the heavily commercialized nature of most industry tours. Reflecting on In Service to Whom, Knowles shared that the work was “developed around constructing new narratives surrounding my body, the posture of rest, protection from the gaze, and speaks to a reemergence into the world of everyday life following periods of personal incubation and self-revitalization.”
Saint Heron, Knowles’ production company, positions itself as a “multidisciplinary institution reverencing the spiritual act of creation through its preservation and collection of vital works in art and design.” Since 2013, it has produced all of Knowles’ major projects, including her seminal albums A Seat at the Table and When I Get Home. The institution has also curated a self-titled compilation album featuring artists like Kelela, Jhene Aiko and Sampha.
