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With Jones she informs, “Move out the way, I’m with my girls and we all need space/When the queens come through, don’t try like the rest say.” America Has A Problem With guests Grace Jones (!) and Nigerian singer Tems backing her, Beyoncé is strident and fierce. She also reminds anyone silly enough to question her Beyoncé-ness, “Still a 10, still here.” Move “I’m comfortable in my skin, cozy with who I am… I love myself, goddamn,” she intones over heavy percussion. Thick, layered shuffles and an intoxicating rhythm drive her theme of acceptance. “Have you ever had fun like this?” Beyoncé would like to know. Dabbles of trombones, the signature guitar-funk sound of co-writer Nile Rodgers and percussion courtesy of Sheila E. Over the stomping beat that gradually reaches its thesis: Celebrate being unique, Beyoncé sings, “I’m the only one/don’t even spend your time trying to compete with me.” Cuff itĪ soulful bop that finds Beyoncé, “in the mood to (expletive) something up.” It might sound like an Yvonne Elliman throwback, but Beyoncé has something racier in mind for her extracurricular activities. This futuristic romp is lyrically dense and musically zigzagging, with synthesizers creeping in the background. Because Beyoncé always has her next performance ready to go, as her followers are aware. Here are a few of the album’s highlights by USATODAY.COM, labeled “Act 1,” with two more to come.
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Most follow the blueprint, anchored by heavy percussion, disorienting beats and intriguing segues, with Beyoncé delving her deepest into hip-hop and salacious come-ons.
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When “Break My Soul,” the inaugural single from “Renaissance,” arrived in June, fans thrilled to its dance floor vibe provided largely by a glorious sample of Robin S.’s 1993 club anthem, “Show Me Love,” and anticipated the full album containing a similar thrust of house music. The new album’s cover, which shows the singer in scanty dressed regalia astride a silver, luminous horse, gave away that “Renaissance” would see more of her than just a well-toned thigh.īeyoncé also purposefully eschewed a visual element, which was a crucial part of “Lemonade” and 2020’s “Black is King” project, so that fans could create their own musical journeys with the songs she labored on for almost three years.
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Though she never ever felt that way, she is now totally free. Beyoncé understands there is no need to apologize at the age of 40. She can be seductive or overtly bawdy depending on the situation. I sense a renaissance beginning, and I want to do everything I can to help this escape grow. “With all the unfairness and isolation over the past year, I think we are all eager to leave, explore, fall in love, and laugh again,” she told Harper’s Bazaar in 2021. After releasing the stunning visual album Lemonade in 2016, the pop titan also released the excellent but largely forgotten Carters full-length in 2018 and The Gift in 2019, which served as the bright soundtrack for Disney’s The Lion King remake.īecause of the lengthy wait for her seventh album, Renaissance, which alludes to both Beyoncé’s homecoming and society’s post-pandemic renewal, has several implications.