Since her start in the jazz club, spoken word scene of Philadelphia, poet-vocalist Jill Scott has been a bright beacon of Black life in all of its richly 25 years after her debut, the Philadelphia poet-vocalist returns with an experimental new album and zero fucks left to give.
Jill Scott performs onstage during Night 2 of the 2025 Essence Festival of Culture at Caesars Superdome on July 5, 2025, in New Orleans, Louisiana. Since her start in the jazz club, spoken word scene of Philadelphia, poet-vocalist Jill Scott has been a bright beacon of Black life in all of its richly detailed glory.
With her debut album, 2000’s, the singer’s elegant, streetwise tales of self-empowerment and self-respect got wrapped in ribbons of sensuality and sexuality touched by commonplace issues of family, religion, work, and community with the tuneful tones of R&B and hip-hop as her positivist divining rods. , Scott’s first new album since 2015’s. And yet, there something far deeper is at work, and not always for the glad or the good. The self-healing that’s been a part of her hearty, nuanced, tactile vocals and opulently adorned poetry has more of a bittersweet edge to its proceedings. The sex-sensuality is as ringed with disappointment and disgust as it is with wonder and joyful surprise. Anger is as beholden to as forbearance. Her bright light is tinged with darkness. There’s victory at the end of that tunnel, but it’s hard won, and so much more lived-in than Scott’s previous albums. Scott’s usual music of jazzy soul, too, gets expanded and illuminated upon with big band brassiness, deep blues, ambient electronica, hot-house disco, and hipper hip-hop than ever.then, is the soaring sound of older, wiser adult contemporary R&B, and it does so more experimentally and with fewer fucks to give than Scott has ever done so in the past. Whom This May Concern is truly the most experimental thing—lyrically, sonically—that I have ever heard you do. There is no one sound or mood, and yet it all sounds exactly like Jill Scott. What brought you to this process, or this point? Well, I will say that I did some therapy, and discovered in myself some things that I wanted to release. Once I did that—and it took time and tears and some bravery—once I let go of those things, I became free. I love this freedom. I don’t have any boxes. That means I could do whatever I want. And I want to be a party to whatever kind of music moves me. So, I collected sounds from producers and musicians from all over the place, and the things that touched my soul the most—made me write immediately and stay up all night, made me perspire and second guess and go back and rewrite—those are the things that I put on the album. I’m not beholden to anything that I’ve done in the past. I’m free. I’m allowed… I’ve given myself permission to experiment and tell stories the way that I like to tell stories. And I’m the centerpiece of it all, so it sounds like me. You gathered musicians and producers, many of which are new to the Jill Scott experience: DJ Premier, Too Short, Camper, Trombone Shorty. Did you have the songs and sounds in your head and your heart before you went collecting, or was it all just kismet? The stories in my head begat the meetings, all of it being organic. I had met Too Short a while ago. We talked about books and we talked about folklore. So cool, so smart, yet it had been years since that time. But when I got Khari Mateen’s music for “Biggest Pimp of the Year,” you could absolutely hear that this was a players’ ball. So, I started writing to that form, and thought hard about. And, it only made sense to call upon Too Short to expound on the mentality of a pimp, so that the track was cohesive. It was like being in a debate team, and having to prepare your argument. Same with the rest of the record. I had no idea that it was going to be so multi-faceted, but what I’m sharing with you are my favorite things. It is expansive…“Be Great” was written a while ago, but the track wasn’t finished. It needed time to cook. I had to build around what I’d already written, which was a march. Which meant that it required a marching band. The physical manifestation of it was that my chest got high, and my body went straight. Now, what kind of march would it be? I love the HBCU marching bands—they’re extraordinary. I needed THOSE horns and called David Banner with whom I’ve worked for years who suggested Trombone Shorty. So, I did. And he did. VT Tolan sent me “Pressha”—it was dark and sexy and a little sad. What’s dark, sexy, and sad? Oh. Loving someone who isn’t proud of you and won’t share you with the light. Hmmm. What a story to write. I come into your timeline very early, of you reading your poetry at clubs around Philadelphia. First listen to the new album, and instantly you hear that the poetry is still there—especially in moments such as “Ode to Nikki.” Much of your poetry now, though, it’s more lived-in, more investigative, funnier, more suspect, and not entirely pleased with your finds. And there are two distinct visions of love or sex on the new album, such as the disappointment and disgust of “Me 4” and “Don’t Play”… “Me 4” is therapy. That’s me looking at the things that occurred in my life and other people’s lives and going “OK. We did that. We don’t have to go backwards.” That song’s intentions go hand-in-hand with “Ode to Nikki” because we’re not trapped in a perpetual loop. We’re not sitting on the same concrete, wishing. We can make changes. This album is about changes. “Don’t Play”…Yes, I’ve heard so many complaints, and it all feels very transactional. You fly me out here, and I’ll give you this type of weekend. I guess that this works for some people. But that’s not enough. As someone who has experienced passionate lovemaking—mind-altering, universe-travelling lovemaking—it seems so unfair otherwise. I thought that maybe some people don’t know any different, so when I got the music, and it had a hump in it, I thought, let me just tell this story, and try to make it campy, easy-going, but aggressive. Because you should be as aggressive about your pleasure, as you are getting your money. Why shouldn’t we be aggressive about getting our passions? Which then brings me to a song such as “A Universe,” where what you’ve found is deeper and so very rewarding—even surprising.What happened was I found myself. I did my work. I went to therapy. I looked at my story, and I revamped. And I was fine. Just fine. I don’t mean OK, either. I mean,. Complete. Happy. Joyful. And that’s when someone special can come into a life: when you are ALL of yourself, and not a portion. I think for a long time I was living just a portion of my life, with the rest of it hidden to me, or I didn’t know to look for it. But, this age, this time, I’ll even go as far as to say some wisdom—I don’t know if there’s enough aunties to share this information, so I decided to be one. Jill Scott performs during DJ AG’s Takeover of Camden High Street on January 12, 2026, in London, England. Speaking of aunties, I saw your debut of “Norf Side,” live, at the 2024 Roots Picnic with your track’s collaborator, Tierra Whack, and I was curious if there was any mentorship going on, because you came up slightly before her and share similarities beyond a Philly zip code. Both wrote in childhood. Both have talents beyond music—hers in design and multimedia, yours in acting and film. Tierra and I are friends, but I can’t think of a day where she’s asked me for guidance. She’s so quirky, alive, energetic, and cool. She’s a joy. I do believe in mentorship, and have mentors and mentees. I absolutely think that it is the way to go. I’d even out mentorship up there, maybe even higher than therapy because you’re talking with someone who knows, and has experienced things—whether in the music business, with family or in relationships. Tierra is not a mentee of mine, though. I just want to be clear, and love sharing things as an auntie to anyone who has ears, to anyone who’s open to understanding, learning, and growing. I’m also finding young people who are expanding my world view—that may be my very favorite part of this time. My son is definitely one of those people. I feel very grateful for that.Can we talk about Afro-folkloric painter Marcellous Lovelace’s cover art for your new album? How did the two of you get together on this? I already had a cover, but was frustrated. It was so close, but not quite it. My dear friend from Temple University, Peter Evans, gave me a list of artists from Instagram to check out, where I found Marcellous. I looked up and down, and so much of his work is so powerful. And then I happened upon and saw all of these words written across her body. I appreciated that she was bare other than all of those written on her, as bare as she could possibly be. I love all of those words, especially at a time when a woman can’t even own her own body. It says “I’m free” right in the center. Right at the third eye. Yes, I love that. I had a psychic tell me one time that I had words pouring down all over my hands and arms. It was a brief encounter but it made sense to me. That’s how I feel. I’m extending my arms. I’m making an offering. I’m there. I’m here. Take it. If you want it. Use it. If you want it. And if not—go away .came out in July of 2000, we’re still technically celebrating your quarter century mark. So, 25 years after your debut, who is Jill Scott? Now? I’m a really loved woman. It’s only gotten bigger. And thicker. The love that I experience. And the joy that I experience. I’ve got some money now, so I travel more than I ever have. I have a handful of exquisite friends. I’m creating the type of musichow I want, with whom I’m meant to create with. I’m deliciously satisfied for the first time in my life.
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