Solange Knowles brings church to Houston’s Jones Hall through her Eldorado Ballroom series, curating a spiritual revival with a handpicked lineup of masters.
“She’s a genius, like a mad scientist in the lab,” said organist Dominique Johnson. “She’s breaking all the rules … No segregation — we all come together for the same purpose: to worship the same God. There’s power in that unity.”
That energy powered “Glory to Glory (A Revival for Spiritual and Devotional Art)” — part of Solange Knowles’ six-show “Eldorado Ballroom” series, which made its way to Houston after stops in New York City in 2023 and Los Angeles in 2024. Named after the historic Third Ward venue that once gave Black performers a stage when others wouldn’t, the series built toward this penultimate moment at one of Houston’s most prestigious halls.
Eldorado also moved through immersive experiences — from classical choral works inside the Museum of Fine Arts, Houston, to experimental installations with DJs, theater, and film. Every night, the thread was the same: Black cultural mastery.
“’Glory to Glory’ is my personal pride and glory of the Eldorado Ballroom Series,” Solange told theGrio. “There are so many nuances in the expressions of devotion and praise between these incredible women musicians and composers.”
She emphasized the importance of works by Mary Lou Williams and gospel legend Twinkie Clark, among her favorites. Clark sat at her “throne” behind the piano, and Solange said without hesitation that Clark deserves mention alongside Beethoven and Bach in musical history.
At the end of the show, Solange bowed and honored the Clark Sisters — whose set included beloved “oldies but goodies.” The group has performed globally for nearly 60 years and remains the best-selling female gospel group of all time.
“What we’re bringing to the surface and forefront in this series is that Black women — and Black people, period — do it all,” said Grammy-nominated conductor Malcolm Merriweather, director of choral studies and associate professor at the Brooklyn College Conservatory of Music.
Led by Merriweather, the choir performed sacred works by Mary Lou Williams, including “Black Christ of the Andes” and Mary Lou’s “Mass.” Pianist Artina McCain’s performances alongside the choir resurrected works that had been buried for decades. Williams — a jazz pianist, arranger and composer — died in 1981. After a spiritual awakening in the 1960s, she dedicated herself to the Catholic Church and began composing sacred music largely ignored by the classical world.
Merriweather’s choir brought the pieces back with controlled force and unity.
“I hear my mother and my aunts in this music — Black women from the South who didn’t have access to these platforms, but who created beauty anyway. That’s who I conduct for,” he said.
The conductor and singer noted the shift from the assumption of “old dead white men” in classical music: “This is different.”
Angélla Christie’s saxophone opened the evening, her tone cutting through the space like scripture. Johnson’s organ steadied the performance, and the legendary Clark Sisters — joined by a last-minute band of local Houston musicians — brought the crowd out of their seats for the rest of the night.
“More of the world needs to know about Mary Lou Williams’ works,” Solange told TheGrio.
“Twinkie Clark is one of my favorite composers of all time and deserves to sit in the highest seat of American history as a composer and organist.”
The Eldorado Ballroom series was presented in partnership with Performing Arts Houston, which hosted the final performance at Jones Hall. The final performance in the Eldorado Ballroom series will be “Go Slow (Past And Present Futures From Alief to Abuja)” on June 20, a celebration of Houston’s Nigerian community through art, culture and music.
“Art has the power to record and share history and culture,” said Meg Booth, president and CEO of Performing Arts Houston. “Solange’s Eldorado Ballroom does just that… the series celebrates undersung stories of Black creativity and culture, centered around an iconic Houston landmark. Witnessing the community’s response has been deeply moving.”
Johnson added:
“Church folks frown on secular folks, and secular folks frown on church folks. But Solange is creating a platform where we can all come together and operate as one — which is what God called us to do.”
When Merriweather’s choir lifted the final note, when Christie breathed scripture through her saxophone, when Clark’s hands touched the keys and the audience rose, Solange’s vision was fully realized.
“These are my wildest dreams,” she said, hugging and bowing with the Clark Sisters.
Solange indeed gives us glory — to glory.
Jerome Bailey Jr. is a journalist, poet, and fine artist. A Columbia Journalism School graduate, he has reported for outlets like The Washington Post, Associated Press, NBC, and theGrio, covering culture with clarity and a distinct, story-driven artistic lens. In addition to his ongoing cultural writing, he now creates one-of-a-kind fine art pieces featuring his handwritten poetry—transforming reclaimed materials into devotional visual works. Connect with @jeromebaileyjr on all platforms to see his work and the creative process he often shares.
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Originally sourced via trusted media partner. https://thegrio.com/2025/06/19/from-the-table-to-the-church-pews-solanges-glory-to-glory-is-a-praise-break-for-black-womens-genius/
