Jill Scott Spreads Message Of Empowerment On Soulful Playbook – ‘To Whom This May Concern’ (ALBUM REVIEW)

On her sixth studio album, To Whom This May Concern, Jilly from Philly is more reflective and confident than ever. Her message is clear: in the face of adversity and oppression, Jill Scott is here to spread self-assurance rooted in contemplation, creativity, spirituality, sexuality, and self-love. She plays the role of someone who has lived, learned many lessons, and is ready to share her wisdom and support with anyone in need. She brings along more guests than ever before to inject the inspiring LP with a myriad of encouraging viewpoints. Vocalists include church-bred poet Maha Adachi Earth and hip hop heads JID, Ab-Soul, Tierra Whack, and Too $hort. Meanwhile, Trombone Short does his thing with the brass on “ Be Great”, while legendary producers DJ Premier, Om’Mas Keith, and (DJ) Camper, among others, get busy on the boards.

The opening track, “Dope Shit,” plays like morning affirmations, silkily rapped over a funky beat. Jill Scott starts in with her storied soulful singing on “Be Great”, an anthem to unabashed conviction in one’s own value, given explosive life by the horns of Trombone Shorty. She continues her notorious soaring vocal runs on “Beautiful People”, a spiritual and uplifting yet calmingly mellow track. “Offdaback” employs more thoughtful spoken-word and furthers a theme of paying homage to those who came before Scott and paved the way for her success in a historically harsh and domineering world. Sticking to her familiar and cultural roots is clearly important to Philly Jilly and persists on “Norf Side”, wherein she enlists fellow daughter of North Philly, Tierra Whack, to trade bars over the renowned production of the venerable Premo. More interludes ensue, such as “Disclaimer”, which sets the stage for the most straightforward and powerful song on the album, “Pay U on Tuesday”, sung over a New Orleans-style piano and horn combo.

Heavily referenced in the thought-provoking album artwork, “Pressha” critiques societal constraints on beauty and expression, as well as Scott’s success in bucking them. “BPTOY” (Biggest Pimp of the Year) enlists world-famous pimp Too $hort to criticize exploitative institutions (namely, religious and medical) as analogous to abusive styles of prostitution. Exemplified amazingly here, Scott’s songwriting from start to end is particularly pensive and introspective, whether on the short interludes that pockmark the album (“Me 4”), her lush singing (“The Math”, “A Universe”, and the bulk of other songs on the project), or her spoken word and rapping (“Ode to Nikki”, among others). Scott’s powerful voice requires no backing vocals and is devoid of such all across the album, but when more complex vocal arrangements are employed (such as the hook on “Liftin Me Up”), it turns the strictly intimate into the wholly intoxicating.

A standout track for its assertive sensuality, “Don’t Play” was picked to have a live rendition performed for the esteemed COLORS series. Any topic Scott touches across the album (sexuality, religion, oppression, et al), she does so with bold self-confidence and a sharp pen.

This album is for everyone, but it will resonate most with those who need to bolster their self-reliance. Jill Scott sends this out To Whom This May Concern, and those concerned would be remiss not to listen attentively to this soulful playbook of affirmations and life lessons.