Beyoncé, ‘Renaissance’

The problem Beyoncé created for herself when she released Lemonade back in 2016 was it was instantly regarded as her best project. It was lauded by critics, showered with awards and consistently ranked as one of the best albums of the year, decade and—sometimes—of all time. How is anyone supposed to be able to follow up something like that? Fortunately, it’s Beyoncé we’re dealing with.

In the last six years, there have been only slight indications of where her music would head. Everything Is Love with Jay-Z felt more like a culmination of the story of their relationship strewn throughout Lemonade and Jay-Z’s 4:44. Black is King, an Afro-influenced concept album was another collaborative project based on the themes of “The Lion King.” Single “Black Parade” was a direct commentary on Black Lives Matter protests and the relentlessly overlooked legacy of Black people in the Americas.

Then came “BREAK MY SOUL.” It gave the first indication Beyoncé never had any intentions of trying to outdo what she did on Lemonade. Instead, she’s decided to chart a whole new course. The hook of the song, a trap- and dance-influenced chant from Big Freedia (who can also be heard on “Formation”) encourages you to release yourself from whatever it is holding you back. Whether it’s your anger, mind, job, trade or even your love, let it go if it’s not serving you the way it intended.

It may not have sounded as groundbreaking, but when you tie it into the rest of the new album, it brings about a whole new meaning. RENAISSANCE is relentlessly empowering. On Lemonade, Beyoncé sampled genres within different songs to push her music forward. There were more individualized elements of country, alternative, pop, R&B, gospel, soul and funk. But on RENAISSANCE, it’s everything all at once. Of course, there’s still pop and R&B, but add in disco, Afro beats, trap, bounce and elements of rap—and you’ll begin to get the picture.

“ALIEN SUPERSTAR” is the first track where we begin to understand this album is less about self-reflection and more for dance floors and hot summer nights. Beyoncé moves from the loose rapping style she’s employed since her beginnings, to more airy vocals that follow a light sample of Right Said Fred’s “I’m Too Sexy.” “I’m too classy for this world/ Forever I’m that girl/ Feed you diamonds and pearls,” she coos.

Nigerian newcomer Tems and art-pop legend Grace Jones guest on “MOVE.” The beat alternates back and forth before Beyoncé warns that “Anything you do/ Will be held against you.” She effortlessly moves from her light vocals during the post-chorus hook and back to a more commanding, full-throated demand: Watch out for Beyoncé and the power she brings by being herself.

There’s so much energy through all 16 tracks that it’s hard to pinpoint which fans will gravitate toward most. Six-minute centerpiece “VIRGO’S GROOVE” will easily be a fan favorite with its sexual lyrics and feminist energy. Mesh together the lyrics and energy of “Drunk In Love,” “Rocket” and “Blow,” and you’ll understand. A mid-tempo beat is punctuated with attention-grabbing lyrics like, “I need more nudity and ecstasy,” and “Kiss me where you bruise me.” Any power she felt like she lost in her marriage to Jay-Z after his cheating, she’s regained stronger than ever before.

On “CUFF IT,” she’s ready for a bender and is “unapologetic when we fuck up the night.” Layered vocals repeat lyrics throughout the verses. It will be another favorite, right alongside “HEATED,” which was co-written with Drake. The more you listen, the more his influence comes through, and the duo’s second collaboration makes all the more reason for them to keep working together.

There’s so much to Beyoncé’s music that the more you listen and dissect the credits, it becomes clear how she’s earned the title Queen B. There’s production from Skrillex (“ENERGY”) and Blood Pop (“ALL UP IN YOUR MIND”), writing credits for Sabrina Claudio and Odd Future’s Sydney Bennett (“PLASTIC OFF THE SOFA”) and Nija (“COZY”). Only Beyoncé could take this much collaboration and shape it into something so uniquely authentic and groundbreaking.

RENAISSANCE ends with two of its best. “PURE/HONEY” doesn’t sound like two songs but more like four, strung together with a thumping beat that scratches and shouts as Beyoncé calls out the bad bitches and her undeniable sex appeal. “SUMMER RENAISSANCE” pays tribute to disco legend Donna Summer with a sample of “I Feel Good.” If there was any question whether Beyoncé or Jay-Z wears the pants in their marriage, it’s definitely her. “The category is Bey,” her voice claps back before she literally melts into a repetitive hook, “It’s so good/ It’s so good.” “Applause/ A round of applause,” she calls for in the final minute—no problem there, all hail the queen.

Follow Domenic Strazzabosco at Twitter.com/domenicstrazz and Instagram.com/domenicstrazz.