Placing Erykah Badu in an intertextual constellation of artists and critics from Stevie Wonder, to Amiri Baraka, to Alice Coltrane, Kameryn Alexa Carter explores whether neo-soul is dead, acknowledges Baduizm as a potent form of Black female spirituality, and tunes into Badu's “freakquencies”, taking the reader through a series of synesthetic dream sequences as she revisits the album again and again.