Solange on her Eldorado Ballroom series, her love of the tuba and the long wait for new music

As her fans are happy to remind her, it’s been five and a half long years since the release of Solange’s last album. But even the most impatient of her admirers would have to admit that this sly and deep-thinking R&B singer — whose 2019 “When I Get Home” made countless critic’s lists and spawned a short film set in her hometown of Houston — has kept busy over the past half-decade. Under the auspices of the Saint Heron collective she founded in 2013, Solange, 38, has mounted performance-art pieces in museums and galleries around the world; composed a score for New York City Ballet; and even designed a line of glassware meant, in her words, to reveal “the sentience of household objects through the landscape of Black domesticity.” This year, Apple Music included Solange’s 2016 LP, “A Seat at the Table,” on its list of the 100 best albums of all time. Named after a historic Black music hall in Houston’s Third Ward neighborhood — where Solange grew up with her older sister, pop superstar Beyoncé — the series follows an earlier installment held last year at New York’s Brooklyn Academy of Music; among the artists on the L.A. lineup are Patrice Rushen, Bilal, Moses Sumney, Dominique Johnson, J*Davey and the Gospel Music Workshop of America’s Women of Worship choir. Again, I was getting the message that the next evolution of Saint Heron is to build an archive of stories, films, performances, objects — living and breathing moments in time — and to create safekeeping for them, so that there’s a space where people in 20 or 30 years can go back to this Sampha song on a compilation or to this interview we did with Barkley Hendricks about his favorite music or to experience the photographs of Barbara Chase-Riboud during her time in Egypt.