A disillusioned Teyana Taylor might have chosen to leave an industry that failed to appreciate her. However, after years of introspection and learning, the multidisciplinary artist returns transformed, now taking control of her own fate.
In the final track of her latest album, ‘Escape Room’, Teyana Taylor’s two daughters, Rue Rose Shumpert and Junie Shumpert, express heartfelt affection for their mother. “The world loves you so much / Thank you for coming back to music and back to you,” says Taylor’s nine-year-old during a folk-inflected reprise that also serves as a symphonic tribute. “That song brings me to tears every single time; it's so special to have them featured in it,” an in-demand Taylor shares with CLASH amidst a busy schedule of press for her Oscar-worthy role in Paul Thomas Anderson's black comedy-action thriller-political drama, One Battle After Another.
Following the release of her pandemic-era project ‘The Album’ in 2020, Taylor opted to step back from music, her “first love.” Citing fatigue, she had shielded herself from the backlash received in an industry plagued by sexism and racism since her debut on the G.O.O.D label with ‘VII’ in 2014. Throughout her career, Taylor has frequently been overlooked and underestimated, a struggle she continues to confront during a remarkable year. “Back then, there was significant gatekeeping regarding who was seen or supported, and many artists like me, particularly young Black women with a clear vision, resisted being confined to a box. It made it challenging to get your voice heard and gain respect,” a fatigued Taylor reflects.
“At that time, I felt deeply unappreciated and undervalued, as if I had dedicated my all to this industry since I was a teenager without feeling that it was reciprocated,” Taylor reflects on her years spent in survival mode. “The level of support I received, or lack thereof, didn’t align with what I deserved. As artists, we invest so much into our work, and it often feels like we are fighting to be noticed or taken seriously. I eventually grew tired of the struggle.”
Fortunately, the slow-burning trajectory of Taylor’s career is yielding fruitful outcomes now. Emerging from her creative hiatus, she delivers a downcast yet resolute album that echoes Janet Jackson’s ‘Velvet Rope’ in its revealing lyrics, sultry grooves, and interlude-rich structure. It represents a study in classic RnB tradition; an accumulation of a lifetime’s work that has hinted at greatness but hadn’t fully embraced it until now. Consider ‘K.T.S.E’, a stark collection of tracks created with Kanye West in 2018 during what has come to be known as the “Wyoming Sessions.” The reception was mixed: songs like ‘Rose In Harlem’ echoed the artfully distorted and looped hip-hop samples that West enjoyed experimenting with, while Taylor’s proud homage to her Harlem roots provided a grounding listening experience steeped in memoir and confession. Yet some critics condemned it for its haphazard, underdeveloped nature, arguing that it overlooked Taylor's raw spirit and adaptable voice.
Nevertheless, just as Taylor embodied Brandy’s melismatic range and Jazmine Sullivan’s introspective lyricism in her work, contemporary artists like Coco Jones, kwn, and Chloe x Halle owe her gratitude for a modern evolution of a genre that can be gentle, inviting, abrasive, and full of contradictions. “We’re reflecting the complexity of real life,” she asserts. “Now, artists have greater power to operate on their own terms outside of traditional frameworks. We can communicate directly with our fans and share content without barriers.”
Taylor’s hiatus from being a prominent artist didn’t equate to inactivity. As she demonstrated her determination and drive earlier in her career—choreographing for Beyoncé at just 15—she honed her skills by taking on roles such as creative director and performance coach for performers like Lil Baby and Summer Walker. With her production company, The Aunties, launched in 2021 in collaboration with longtime partner Courtney “CoCo” Gilbert, Teyana Taylor formed an all-female team to manage every production aspect: styling, art direction, choreography. Fast forward a few years, and The Aunties is credited with orchestrating NBA YoungBoy’s tour stagecraft and spearheading Taylor’s own audio-visual project, ‘Escape Room’.
Through The Aunties, Taylor has reclaimed control over her artistic expression in a workplace environment characterized by prudishness and misogyny. “I established The Aunties because I became fed up with waiting for permission,” she explains. “I was tired of hearing ‘no’ or feeling constrained, leading to my vision being diluted or misunderstood. The Aunties symbolize my efforts to build without restrictions. Instead of waiting for a seat at the table, I just created my own. I resonate with the frustrations of artists and love facilitating their creative visions.”
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A disillusioned Teyana Taylor might have left an industry that didn’t appreciate her. However, after years of introspection and learning, the