Beyoncé pandemonium made it tough to critically discuss "Renaissance" openly. Is it safe a year later? #NP Tevin Campbell-Can We Talk?
Beyoncé is at a point in her career where anything she releases may cause hysteria, be it an Instagram post, a drop from her Ivy Park athletic wear line, or new music. Feeding this is her position as a high caliber act in an industry climate where the bar has substantially lowered since her arrival.
Over the last two decades, major labels have increasingly struggled to retain consumer dollars and attention. Piracy and social media are among the impactful forces. This has led to cutting corners of all sorts, including with talent scouting and development. Beyoncé rose to fame before the downward shift, and she’s one of the few of her contemporaries to consistently put out material. Thus, people will voraciously eat up whatever she tosses at them like vultures on a carcass, haha. Her latest project Renaissance would be swallowed twice as fast because it’s her first solo album after 2016’s Lemonade. It’s also her debut dive into the dance genre, which many have clamored for.
I was BeyHive before there was a designated BeyHive, so it’s nice to see my fave garner this much excitement and positive reception. It’s not without its aggravations though. The mass bandwagoning and superficial fandom surrounding Beyoncé is at a fever pitch. I could do a whole TED Talk on the influence of that and why it’s irksome to me as a stan, haha. For now, I’m focusing on the effect of this as a music nerd and reviewer. There’s not much room for constructive critical assessment when it comes to Beyoncé. Online, takes are filtered through the lens of “you’re either for or against her.”
I don’t wish to rain on the parade, give credit when it’s not due, or feed the fault-finding crowd. It’s always my target to have great analytical discussion. I’m curious if folks will share my opinions, or cause me to marinate on things I didn’t before. So, I opted to weigh in when the ground was conversation conducive, and I could examine Renaissance in totality with its visuals. A year later, and Beyoncé’s just telling us that we are the visuals, baby. Guess that means it's officially time to talk, haha. Are ya'll ready to objectively discuss Renaissance with me?
I’ve scored various areas on a scale of 1-10. For fun, I've titled them as if they were ballroom categories. If you don't know what I mean by that, you soon will, haha. They're named after artists I feel embody them.
The Category Is…"Dancing in Prince’s ‘Purple Rain’ (Music/Production):" 7.5
The music and production of Renaissance is easily its strongest and most dominant facet. It’s kind of a problem that it’s the star of the show, but I’ll get to that shortly.
Dance albums can be stylistically one-dimensional, but Beyoncé offered a smorgasbord without compromising the identity of the core genre. On the list of those giving her a helping hand are Mike Dean, The Dream, Stuart White, and Nova Wav.
Despite the variation, patterns of hyper pop, funk, rap, EDM, vogue, R&B, afrobeats, and more seamlessly co-exist and collaborate. Some of my favorite melds involve gospel accents. They’re used as end-caps for the house music-based “Break My Soul” and the disco darling “Summer Renaissance.” Their positioning perfectly created a sense of deliverance, as one might feel leaving their cares on the club floor. Gospel is also the backdrop of the aptly titled “Church Girl,” seated on New Orleans bounce. It’s anyone’s guess if the union of what’s considered sacrosanct and debauchery is simply a delicious irony. Perhaps it’s a note to re-evaluate what we deem 'holy' and a source of inner peace. It could be commentary on how seemingly opposite worlds are more alike than believed. *Andre 3000 voice* Who knows where this flower grows?
The employment of templates, interpolations, and samples spanning the last 50 years makes Renaissance both comfortingly nostalgic and relevantly current. Simultaneously, it feels like the ushering in of a new era, as all is coated in a futuristic glaze. Cohesion is attained in part by each track swaying into the next.
Beyoncé is at a point in her career where anything she releases may cause hysteria, be it an Instagram post, a drop from her Ivy Park athletic wear line, or new music. Feeding this is her position as a high caliber act in an industry climate where the bar has substantially lowered since her arrival.
Over the last two decades, major labels have increasingly struggled to retain consumer dollars and attention. Piracy and social media are among the impactful forces. This has led to cutting corners of all sorts, including with talent scouting and development. Beyoncé rose to fame before the downward shift, and she’s one of the few of her contemporaries to consistently put out material. Thus, people will voraciously eat up whatever she tosses at them like vultures on a carcass, haha. Her latest project Renaissance would be swallowed twice as fast because it’s her first solo album after 2016’s Lemonade. It’s also her debut dive into the dance genre, which many have clamored for.
I was BeyHive before there was a designated BeyHive, so it’s nice to see my fave garner this much excitement and positive reception. It’s not without its aggravations though. The mass bandwagoning and superficial fandom surrounding Beyoncé is at a fever pitch. I could do a whole TED Talk on the influence of that and why it’s irksome to me as a stan, haha. For now, I’m focusing on the effect of this as a music nerd and reviewer. There’s not much room for constructive critical assessment when it comes to Beyoncé. Online, takes are filtered through the lens of “you’re either for or against her.”
I don’t wish to rain on the parade, give credit when it’s not due, or feed the fault-finding crowd. It’s always my target to have great analytical discussion. I’m curious if folks will share my opinions, or cause me to marinate on things I didn’t before. So, I opted to weigh in when the ground was conversation conducive, and I could examine Renaissance in totality with its visuals. A year later, and Beyoncé’s just telling us that we are the visuals, baby. Guess that means it's officially time to talk, haha. Are ya'll ready to objectively discuss Renaissance with me?
I’ve scored various areas on a scale of 1-10. For fun, I've titled them as if they were ballroom categories. If you don't know what I mean by that, you soon will, haha. They're named after artists I feel embody them.
The Category Is…"Dancing in Prince’s ‘Purple Rain’ (Music/Production):" 7.5
The music and production of Renaissance is easily its strongest and most dominant facet. It’s kind of a problem that it’s the star of the show, but I’ll get to that shortly.
Dance albums can be stylistically one-dimensional, but Beyoncé offered a smorgasbord without compromising the identity of the core genre. On the list of those giving her a helping hand are Mike Dean, The Dream, Stuart White, and Nova Wav.
Despite the variation, patterns of hyper pop, funk, rap, EDM, vogue, R&B, afrobeats, and more seamlessly co-exist and collaborate. Some of my favorite melds involve gospel accents. They’re used as end-caps for the house music-based “Break My Soul” and the disco darling “Summer Renaissance.” Their positioning perfectly created a sense of deliverance, as one might feel leaving their cares on the club floor. Gospel is also the backdrop of the aptly titled “Church Girl,” seated on New Orleans bounce. It’s anyone’s guess if the union of what’s considered sacrosanct and debauchery is simply a delicious irony. Perhaps it’s a note to re-evaluate what we deem 'holy' and a source of inner peace. It could be commentary on how seemingly opposite worlds are more alike than believed. *Andre 3000 voice* Who knows where this flower grows?
The employment of templates, interpolations, and samples spanning the last 50 years makes Renaissance both comfortingly nostalgic and relevantly current. Simultaneously, it feels like the ushering in of a new era, as all is coated in a futuristic glaze. Cohesion is attained in part by each track swaying into the next.
Renaissance World Tour (BeyonceOnline.org) In addition to the stylistic diversity, what separates Renaissance from other dance records is its darkness. For a project that’s supposed to inspire “joy,” “release,” and being “adventurous,” (as per Beyoncé’s Instagram), it’s strangely murky. I wonder if it’s to represent the life-dirt we’re all trying to shake off like Mariah and Taylor, or if it’s indicative of the space Beyoncé’s in artistically and/or personally. Her work has been decidedly tenebrous following her 2013 self-titled LP.
Renaissance is laden with minor keys, chords in lower octaves, low frequencies, and weighty synths and bass. Songs with lighter waves are encircled by dim undertones. The audible shading contrasts, like that on “Alien Superstar,” can be fetching. Its stomping verses and pre-choruses divinely lift into the floaty main chorus. It’s fittingly ‘extraterrestrial.’ The muddy production and mixing distracts from such moments, however.
Strategic mixing is especially pertinent when there’s as many moving parts and dusky elements as on Renaissance. In a nutshell, mixing deals with how components are placed and blended to be heard a certain way. Today’s engineers have a tough job because they must contemplate how things will sound on multiple platforms and devices. Furthermore, they have to find ways to make up for inevitable quality loss. When music is compressed to be formatted for CDs, uploaded for digital streaming, and so forth, some frequencies are diminished. Tidal and similar tout their lossless and stereo features, but physical CDs are still as close as you’ll get to the original mix. Use Bluetooth or another wireless item with a streaming service, and you have double the reduction.
This in mind, I listened to the Renaissance CD with a DVD system connected to 'movie theater' speakers, a ritzy traditional stereo, a classic portable player, a computer, and in a car. I used regular and wireless headphones of different price points. The same goes for standalone speakers. I streamed the album with Apple Music on everything except the portable player of course. I heard it on my phone without linking it to anything as well. I toyed with available sound settings, presets, and equalizers (which was fun, haha).
Across the board, Renaissance’s surface was blaring. I constantly adjusted the volume to hear the (much softer) vocals. It made me think of when the sound suddenly amplifies on a TV during a commercial break. You hurriedly grab the remote to turn it down, and back up again when Euphoria is on, haha. Given the LP’s declarative and provocative personality, it should be boisterous and omnipresent. It has a spectacular arena-like fullness (by the way, the “Break My Soul-Queen’s Remix” is unreal with the right equipment). What takes away from it is the abrasiveness from the imbalanced loudness, gritty aspects, dense bass, and hard rhythms. Moreover, you have *Ariel voice* gadgets and gizmos aplenty competing for space.
Production can be jam-packed, but mixing equipoise can prevent noisiness and allow each significant component to shine. There were cool effects and beautiful instrumentation or vocals I could only hear clearly with specific devices or settings. Even then, those constituents were accentuated at the expense of others. It was difficult reaching an equilibrium. This is a disadvantage. The maximum emotionality that could come from the musical composition is hampered. On top of that, there’s little oxygen left for the lyrics and vocals to breathe.
It takes a while to memorize or internalize the words of a song when the arrangements keep your ears so busy (though some Renaissance lines are intentionally emphasized). The sung parts are a challenge to indulge in too, which brings me to my biggest issue here. Beyoncé arguably plays second fiddle to the production, which towers over her. Her voice is often at a quieter level or not a centerpiece. Many might say instrumentals are supposed to be the heart of a dance record. Howbeit, their typical redundancies and mechanical quality enables singers to soar. The performers usually enhance choruses and give climaxes or bridges punch (ex. Kelly Rowland’s work on David Guetta’s “When Love Takes Over;” I kept it in the family with this, haha). These built-in vocal opportunities are frequently missed for Beyoncé on Renaissance. Between this and the cluttered musical landscape around her, she’s affixed as a supporting actress. This should never happen; particularly with a powerhouse like her. To a degree, she willfully takes on this role, leading us to our next category.
The Category Is…"Whitney’s Sweet Refrain (Vocals):" 7.0
Shout out to those who just caught my nod to FX’s Pose (RIP Candy).
Perhaps Renaissance’s production wouldn’t have stolen Beyoncé’s spotlight so easily if she wasn’t vocally conservative. In the leads, she largely stays away from acrobatics. There aren’t many 'money notes' or markedly emotive phases. Instead, she chooses to rely on colorful phrasing, growls, and other assorted noises to add character, haha. The woofs on “Church Girl” and Lil Jon-esque grunts toward the end of “Cuff It” amuse me.
Beyoncé still demonstrates her dynamics, effortlessly going from airy to sonorous. She relishes in the deeper pools and rougher textures of her voice. On numbers like “Heated” and “All up in Your Mind,” she sportively exaggerates the gruff to where she sounds like a different person. These fluctuations and adornments notwithstanding, she primarily sticks to the middle of her range. Aside from the vocally concentrated regions in “Plastic off the Sofa” and “Virgo’s Groove,” the backgrounds and harmonies are where most of the razzle dazzle is. The overall temperance is underscored by an uncomfortable abundance of 'talk-singing.'
Renaissance definitely isn’t the showcase 2011’s 4 was in this department (I’ve found myself revisiting it to get my fix). Then again, Beyoncé was 12 years younger and hadn’t given birth to three children. A multitude of factors can affect the voice and contribute to natural wear and tear (ex. Pregnancy, comprehensive health, medications, smoking). Wise singers with proficient technique have the acumen to adjust their recording and performance approaches as needed. For instance, they’ll be practical and won’t put out tunes they can’t sustainably do on a rigorous tour.
What we’re hearing (or not hearing) vocally on Renaissance may be the fruit of Beyoncé’s environmental adaption. Her skillful navigation of her extending depths and transformed timbre is praiseworthy. Concurrently, the absence of her prior heights and delivery is felt. Artist, vocal coach, and music educator O’Neil Gerald analyzes the perceived changes in Beyoncé’s execution here.
Renaissance is laden with minor keys, chords in lower octaves, low frequencies, and weighty synths and bass. Songs with lighter waves are encircled by dim undertones. The audible shading contrasts, like that on “Alien Superstar,” can be fetching. Its stomping verses and pre-choruses divinely lift into the floaty main chorus. It’s fittingly ‘extraterrestrial.’ The muddy production and mixing distracts from such moments, however.
Strategic mixing is especially pertinent when there’s as many moving parts and dusky elements as on Renaissance. In a nutshell, mixing deals with how components are placed and blended to be heard a certain way. Today’s engineers have a tough job because they must contemplate how things will sound on multiple platforms and devices. Furthermore, they have to find ways to make up for inevitable quality loss. When music is compressed to be formatted for CDs, uploaded for digital streaming, and so forth, some frequencies are diminished. Tidal and similar tout their lossless and stereo features, but physical CDs are still as close as you’ll get to the original mix. Use Bluetooth or another wireless item with a streaming service, and you have double the reduction.
This in mind, I listened to the Renaissance CD with a DVD system connected to 'movie theater' speakers, a ritzy traditional stereo, a classic portable player, a computer, and in a car. I used regular and wireless headphones of different price points. The same goes for standalone speakers. I streamed the album with Apple Music on everything except the portable player of course. I heard it on my phone without linking it to anything as well. I toyed with available sound settings, presets, and equalizers (which was fun, haha).
Across the board, Renaissance’s surface was blaring. I constantly adjusted the volume to hear the (much softer) vocals. It made me think of when the sound suddenly amplifies on a TV during a commercial break. You hurriedly grab the remote to turn it down, and back up again when Euphoria is on, haha. Given the LP’s declarative and provocative personality, it should be boisterous and omnipresent. It has a spectacular arena-like fullness (by the way, the “Break My Soul-Queen’s Remix” is unreal with the right equipment). What takes away from it is the abrasiveness from the imbalanced loudness, gritty aspects, dense bass, and hard rhythms. Moreover, you have *Ariel voice* gadgets and gizmos aplenty competing for space.
Production can be jam-packed, but mixing equipoise can prevent noisiness and allow each significant component to shine. There were cool effects and beautiful instrumentation or vocals I could only hear clearly with specific devices or settings. Even then, those constituents were accentuated at the expense of others. It was difficult reaching an equilibrium. This is a disadvantage. The maximum emotionality that could come from the musical composition is hampered. On top of that, there’s little oxygen left for the lyrics and vocals to breathe.
It takes a while to memorize or internalize the words of a song when the arrangements keep your ears so busy (though some Renaissance lines are intentionally emphasized). The sung parts are a challenge to indulge in too, which brings me to my biggest issue here. Beyoncé arguably plays second fiddle to the production, which towers over her. Her voice is often at a quieter level or not a centerpiece. Many might say instrumentals are supposed to be the heart of a dance record. Howbeit, their typical redundancies and mechanical quality enables singers to soar. The performers usually enhance choruses and give climaxes or bridges punch (ex. Kelly Rowland’s work on David Guetta’s “When Love Takes Over;” I kept it in the family with this, haha). These built-in vocal opportunities are frequently missed for Beyoncé on Renaissance. Between this and the cluttered musical landscape around her, she’s affixed as a supporting actress. This should never happen; particularly with a powerhouse like her. To a degree, she willfully takes on this role, leading us to our next category.
The Category Is…"Whitney’s Sweet Refrain (Vocals):" 7.0
Shout out to those who just caught my nod to FX’s Pose (RIP Candy).
Perhaps Renaissance’s production wouldn’t have stolen Beyoncé’s spotlight so easily if she wasn’t vocally conservative. In the leads, she largely stays away from acrobatics. There aren’t many 'money notes' or markedly emotive phases. Instead, she chooses to rely on colorful phrasing, growls, and other assorted noises to add character, haha. The woofs on “Church Girl” and Lil Jon-esque grunts toward the end of “Cuff It” amuse me.
Beyoncé still demonstrates her dynamics, effortlessly going from airy to sonorous. She relishes in the deeper pools and rougher textures of her voice. On numbers like “Heated” and “All up in Your Mind,” she sportively exaggerates the gruff to where she sounds like a different person. These fluctuations and adornments notwithstanding, she primarily sticks to the middle of her range. Aside from the vocally concentrated regions in “Plastic off the Sofa” and “Virgo’s Groove,” the backgrounds and harmonies are where most of the razzle dazzle is. The overall temperance is underscored by an uncomfortable abundance of 'talk-singing.'
Renaissance definitely isn’t the showcase 2011’s 4 was in this department (I’ve found myself revisiting it to get my fix). Then again, Beyoncé was 12 years younger and hadn’t given birth to three children. A multitude of factors can affect the voice and contribute to natural wear and tear (ex. Pregnancy, comprehensive health, medications, smoking). Wise singers with proficient technique have the acumen to adjust their recording and performance approaches as needed. For instance, they’ll be practical and won’t put out tunes they can’t sustainably do on a rigorous tour.
What we’re hearing (or not hearing) vocally on Renaissance may be the fruit of Beyoncé’s environmental adaption. Her skillful navigation of her extending depths and transformed timbre is praiseworthy. Concurrently, the absence of her prior heights and delivery is felt. Artist, vocal coach, and music educator O’Neil Gerald analyzes the perceived changes in Beyoncé’s execution here.
Renaissance World Tour (BeyonceOnline.org) The Category Is…"Mariah’s Butterfly Daydream (Lyrics):" 6.0
Chile, Beyoncé and her squad of writers gave us next to nothing on Renaissance, haha. The dance and vogue genres aren’t known for reflective lyrics, but that provided our star with a golden creative opening. Had she diligently flexed her pen muscles, she’d be applauded for defying the status quo. She might’ve been credited with treading a path for 'thought-provoking' dance music in the mainstream. It was a chance to put her “UNIQUE!” stamp on it and make it her own. Last, but not least, Renaissance would’ve been stronger as a concept album.
The hardships brought on by coronavirus and socio-political turmoil in 2020 was an influence for the project. Beyoncé told Harper’s Bazaar in 2021 that she wanted to nurture a much needed escape. Aiming for escapism may be why the content isn’t meatier, but the two aren’t mutually exclusive. “Break My Soul” proves this; it’s uplifting because of its attack on strife. People could connect and gyrate to it at the same time, haha. This should’ve been the model for majority of the LP, intently covering healing and an array of life topics. It would’ve driven the point about renewal—a renaissance—home.
Much of the stimulating subject matter on other cuts is relayed in a half-baked, disjointed, or dysfunctionally abstract manner. It can be so open-ended that the messaging isn’t clear. To boot, it’s overwhelmed by shallowness, materialism, and braggadocio. Some of the lyrics are just plain childish or meaningless fluff. Often, the language is what I call 'text message casual:' rudimentary and loaded with gratuitous expletives.
Let’s take a look at “I’m That Girl.” Beyoncé *Rose Dawson voice* congratulates herself on being a master of the universe, but asserts she didn’t want the power that comes with it. If the lines didn’t stop there, we’d know if this was about the downsides of fame, being a child star, shouldering a sense of responsibility, or something else. She goes on to describe herself as “indecent” and says she has an “Un-American life.” These ideas—possibly about race relations or cultural ideologies—are unfortunately abbreviated.
On “Heated,” Beyoncé is hot in her aesthetic and hot with anger at her mate. We love when an entire song serves as a double entendre. In order to do this well, elevated storytelling is required. The submissions of “Heated’s” 11 writers weren’t refined enough. Akin to a Lifetime movie, their enticing tale was too choppy to satisfy, ultimately.
“Church Girl” is the most criminally undercooked. It has an evident, interesting premise: an embattled woman is finally letting go and feeling flirty. Where it tanks is the party scene illustrations outnumber those about the protagonist and moral. What has she endured? Who has judged her? Why is it important that she’s “happy on her own…without a man?” For those who question how you can “do God’s work” and “drop it like a thotty,” what is the answer? Has she found "a new salvation?" A tie-in to “Break My Soul” (and some rich exploration) was right there.
Sidebar: Nonetheless, “Church Girl” is a full circle moment for me in my fan journey with Beyoncé. One reason I was drawn to Destiny’s Child as a teen was that they grew up with religion and seemed to be passionate about it like I was. I’m now processing my negative experiences (to put it lightly) with faith communities, and have long reconfigured my beliefs. Considering how I came to Beyoncé, it’s wild she has a song aligning with this current stage of my life.
Tracks such as “All up in Your Mind,” “America Has a Problem,” and “Cozy” gain points for their cohesion and consistency. The first two are intertwined thematically, as Beyoncé sings of making someone addicted to her. This is expressed with an overarching drug use metaphor, complete with a sample of Kilo Ali’s 1990 anti-cocaine song of the same title. In fact, Renaissance is littered with references to controlled substances. The LP heavily cites the 1970’s and 1980’s, when the “War on Drugs” U.S. government campaign took off. If this isn’t a connection to the related epidemic of the day, maybe it’s a hint the album has a bleak subtext.
Remember that “life-dirt” I spoke of in the production section? The drug tidbits could be about our desperation for relief from the mud, and our destructive coping methods. A Wednesday Addams plot-twist would be that Renaissance suggests happiness is elusive. Euphoria is fleeting, and can only be captured by getting high (or inebriated—there’s a ton of alcohol mentions too). The softer side of Sears theory is that love, sex, and identity are the heady intoxicants; no snorting needed.
“Cozy” is a whiff of Beyoncé’s “What I’ve gathered after 40” perspective. She’s at peace with who she is, where she’s been, and where she’s going. It would’ve been great to get more nuggets about her rides with personal growth, aging, parenting, and so on. I love the body positivity droplet on “Heated:” “Dimples on my hips, stretch marks on my tits.” What are her covid-era epiphanies? I imagine she has some; the pandemic spurred the record after all.
Renaissance has some catchy and quippy lyrics, but they’re not very arousing intellectually. “Break My Soul” is the best written. It’s relatable, concise, pithy, and encapsulates the LP’s objectives.
Chile, Beyoncé and her squad of writers gave us next to nothing on Renaissance, haha. The dance and vogue genres aren’t known for reflective lyrics, but that provided our star with a golden creative opening. Had she diligently flexed her pen muscles, she’d be applauded for defying the status quo. She might’ve been credited with treading a path for 'thought-provoking' dance music in the mainstream. It was a chance to put her “UNIQUE!” stamp on it and make it her own. Last, but not least, Renaissance would’ve been stronger as a concept album.
The hardships brought on by coronavirus and socio-political turmoil in 2020 was an influence for the project. Beyoncé told Harper’s Bazaar in 2021 that she wanted to nurture a much needed escape. Aiming for escapism may be why the content isn’t meatier, but the two aren’t mutually exclusive. “Break My Soul” proves this; it’s uplifting because of its attack on strife. People could connect and gyrate to it at the same time, haha. This should’ve been the model for majority of the LP, intently covering healing and an array of life topics. It would’ve driven the point about renewal—a renaissance—home.
Much of the stimulating subject matter on other cuts is relayed in a half-baked, disjointed, or dysfunctionally abstract manner. It can be so open-ended that the messaging isn’t clear. To boot, it’s overwhelmed by shallowness, materialism, and braggadocio. Some of the lyrics are just plain childish or meaningless fluff. Often, the language is what I call 'text message casual:' rudimentary and loaded with gratuitous expletives.
Let’s take a look at “I’m That Girl.” Beyoncé *Rose Dawson voice* congratulates herself on being a master of the universe, but asserts she didn’t want the power that comes with it. If the lines didn’t stop there, we’d know if this was about the downsides of fame, being a child star, shouldering a sense of responsibility, or something else. She goes on to describe herself as “indecent” and says she has an “Un-American life.” These ideas—possibly about race relations or cultural ideologies—are unfortunately abbreviated.
On “Heated,” Beyoncé is hot in her aesthetic and hot with anger at her mate. We love when an entire song serves as a double entendre. In order to do this well, elevated storytelling is required. The submissions of “Heated’s” 11 writers weren’t refined enough. Akin to a Lifetime movie, their enticing tale was too choppy to satisfy, ultimately.
“Church Girl” is the most criminally undercooked. It has an evident, interesting premise: an embattled woman is finally letting go and feeling flirty. Where it tanks is the party scene illustrations outnumber those about the protagonist and moral. What has she endured? Who has judged her? Why is it important that she’s “happy on her own…without a man?” For those who question how you can “do God’s work” and “drop it like a thotty,” what is the answer? Has she found "a new salvation?" A tie-in to “Break My Soul” (and some rich exploration) was right there.
Sidebar: Nonetheless, “Church Girl” is a full circle moment for me in my fan journey with Beyoncé. One reason I was drawn to Destiny’s Child as a teen was that they grew up with religion and seemed to be passionate about it like I was. I’m now processing my negative experiences (to put it lightly) with faith communities, and have long reconfigured my beliefs. Considering how I came to Beyoncé, it’s wild she has a song aligning with this current stage of my life.
Tracks such as “All up in Your Mind,” “America Has a Problem,” and “Cozy” gain points for their cohesion and consistency. The first two are intertwined thematically, as Beyoncé sings of making someone addicted to her. This is expressed with an overarching drug use metaphor, complete with a sample of Kilo Ali’s 1990 anti-cocaine song of the same title. In fact, Renaissance is littered with references to controlled substances. The LP heavily cites the 1970’s and 1980’s, when the “War on Drugs” U.S. government campaign took off. If this isn’t a connection to the related epidemic of the day, maybe it’s a hint the album has a bleak subtext.
Remember that “life-dirt” I spoke of in the production section? The drug tidbits could be about our desperation for relief from the mud, and our destructive coping methods. A Wednesday Addams plot-twist would be that Renaissance suggests happiness is elusive. Euphoria is fleeting, and can only be captured by getting high (or inebriated—there’s a ton of alcohol mentions too). The softer side of Sears theory is that love, sex, and identity are the heady intoxicants; no snorting needed.
“Cozy” is a whiff of Beyoncé’s “What I’ve gathered after 40” perspective. She’s at peace with who she is, where she’s been, and where she’s going. It would’ve been great to get more nuggets about her rides with personal growth, aging, parenting, and so on. I love the body positivity droplet on “Heated:” “Dimples on my hips, stretch marks on my tits.” What are her covid-era epiphanies? I imagine she has some; the pandemic spurred the record after all.
Renaissance has some catchy and quippy lyrics, but they’re not very arousing intellectually. “Break My Soul” is the best written. It’s relatable, concise, pithy, and encapsulates the LP’s objectives.
Renaissance World Tour (BeyonceOnline.org) The Category Is…"Joining Janet’s Rhythm Nation (Theme):" 8.0
Beyoncé has a bad habit of putting most of her conceptual eggs in one basket. She’ll depend on a single element to convey her ideas and let the others be flimsy in support. 2013’s “Flawless” is a run of the mill sass-track without Chimamanda Ngozi Adichie’s featured speech. The excerpt from her TED Talk made the song a striking feminist statement. Lemonade is squarely about infidelity. Its accompanying film infused with poetry and cultural symbols gave it layers. There were think-pieces galore on the connotations of ancestry, generational conflict, and black women’s suffering. In Renaissance’s case, the theme wasn’t adequately upheld by the lyrics, but it was sonically.
Having the 1970’s as this record’s muse was both a musical and ideological choice. The period saw the emergence of disco, as listeners were most interested in what would keep them in motion. Its rhythms were extensive, hypnotic, and oh so sensual. In many ways, it was quite a veer from the rock anthems that ruled the charts and impressed upon popular culture. Disco was engineered by black artists and led by female performers with unabashed sexual energy. It was the soundtrack of bustling city neighborhoods, filled with eccentric creatives and queer people. It was a renaissance of sorts, and the straight white male establishment wasn’t having it.
Industry figures, like DJs, held demonstrations to destroy disco records and paraphernalia. The naysayers claimed to have purely artistic 'concerns' that weren’t motivated by social prejudices. Their talking point that disco’s affiliated grandeur and hedonism was repelling to the 'blue-collar' class implied otherwise. The protests were initially successful in pushing the genre off Billboard, but its spirit persisted.
The electronic dance, house, and vogue/ballroom music of the 1980’s and 1990’s took its cue from disco. All were integral to Renaissance, specially the latter. Black and brown members of the LGBTQ+ community formed surrogate families to shelter and support those exiled by their biological relatives. These units were referred to as 'houses.' The houses would compete in ballrooms for perfect 10’s from judges to win fancy trophies (and eternal bragging rights). The diverse challenge categories would often be based on talent (ex. voguing), physical attributes, and themes (ex. Fairytales).
What spoke volumes was that several slots were about being convincing—by heteronormative standards—in a certain role. Positions like 'business executive' and 'military sergeant' were systematically barred from openly queer people. In the ballroom, participants could be who they wanted, if only for a night. This glittery world continues to evolve and thrive.
The music of ballroom is structured to sync with the sharp and angular moves of voguers and the graceful swagger of cat-walkers. It also matches the saucy staccato commentary of the emcees, which informs the spoken word of pre-recorded releases. These tracks hold decades of chosen family and opulent dreams of owning everything.
Beyoncé has a bad habit of putting most of her conceptual eggs in one basket. She’ll depend on a single element to convey her ideas and let the others be flimsy in support. 2013’s “Flawless” is a run of the mill sass-track without Chimamanda Ngozi Adichie’s featured speech. The excerpt from her TED Talk made the song a striking feminist statement. Lemonade is squarely about infidelity. Its accompanying film infused with poetry and cultural symbols gave it layers. There were think-pieces galore on the connotations of ancestry, generational conflict, and black women’s suffering. In Renaissance’s case, the theme wasn’t adequately upheld by the lyrics, but it was sonically.
Having the 1970’s as this record’s muse was both a musical and ideological choice. The period saw the emergence of disco, as listeners were most interested in what would keep them in motion. Its rhythms were extensive, hypnotic, and oh so sensual. In many ways, it was quite a veer from the rock anthems that ruled the charts and impressed upon popular culture. Disco was engineered by black artists and led by female performers with unabashed sexual energy. It was the soundtrack of bustling city neighborhoods, filled with eccentric creatives and queer people. It was a renaissance of sorts, and the straight white male establishment wasn’t having it.
Industry figures, like DJs, held demonstrations to destroy disco records and paraphernalia. The naysayers claimed to have purely artistic 'concerns' that weren’t motivated by social prejudices. Their talking point that disco’s affiliated grandeur and hedonism was repelling to the 'blue-collar' class implied otherwise. The protests were initially successful in pushing the genre off Billboard, but its spirit persisted.
The electronic dance, house, and vogue/ballroom music of the 1980’s and 1990’s took its cue from disco. All were integral to Renaissance, specially the latter. Black and brown members of the LGBTQ+ community formed surrogate families to shelter and support those exiled by their biological relatives. These units were referred to as 'houses.' The houses would compete in ballrooms for perfect 10’s from judges to win fancy trophies (and eternal bragging rights). The diverse challenge categories would often be based on talent (ex. voguing), physical attributes, and themes (ex. Fairytales).
What spoke volumes was that several slots were about being convincing—by heteronormative standards—in a certain role. Positions like 'business executive' and 'military sergeant' were systematically barred from openly queer people. In the ballroom, participants could be who they wanted, if only for a night. This glittery world continues to evolve and thrive.
The music of ballroom is structured to sync with the sharp and angular moves of voguers and the graceful swagger of cat-walkers. It also matches the saucy staccato commentary of the emcees, which informs the spoken word of pre-recorded releases. These tracks hold decades of chosen family and opulent dreams of owning everything.
Renaissance World Tour (BeyonceOnline.org) Disco and its offshoots are a musical personification of rebellion, quirk, and ecstasy. As long as there is turbulence and oppression, it’ll be needed. Beyoncé sought to bring its vibes into the rockily-started 2020’s, and she isn’t alone in this. Doja Cat, Dua Lipa, Dove Cameron, and Drake (funny how all their names begin with 'D'), are just a fraction of those channeling disco (and/or the adjacent) lately. Another goal of Beyoncé’s was to pay homage to abused communities whose artistic contributions weren’t properly acknowledged. This doesn’t come across totally when you read Renaissance’s lyrics, and that’s a weakness, but it's unmistakable through the music.
Facebook user Chrystal West posted, “If you don't know about Bianca Jagger riding around Studio 54 on her 30th birthday...seen Paris Is Burning, Kiki, Pose, or subscribed to "Ballroom Throwback Television" on YouTube…wanted to move to New York City during the 1970s-2000 because of how seedy, dirty, and artistically vibrant it was, Renaissance may not be for you. Renaissance is black, gay, house, tribal, disco, and 1970’s vanguard in one…”
The Category Is…"Toni’s 'Secrets' Garden (Engagement):" 6.5
I know 6.5 is a lukewarm score, but hear me out. Renaissance is not readily digestible. As Chrystal West highlighted, it’s very niche and esoteric. Without knowing the frame of reference and/or having an affinity for its central genres, it would be an acquired taste. Some might’ve had an aversion to it because it’s an atypical Beyoncé record, and not what they expected or wanted to hear from her. Then, there’s the coarse and shadowy sound, with middling lyrics and vocal.
YouTube reviewer Ajay was slammed online for her tepid video reaction to the LP, where she said she’d have to sit with it. A mere two months later, she posted a revisit clip (now deleted) getting her whole life to it. She was willing to admit what many wouldn’t: Renaissance is a ‘grower’ album. Lucky for Beyoncé, the soil is fertile for that. Had this project come out at a different time in the last 15 years, I’m not sure how it would’ve landed. The industry atmosphere has such stale air, there wasn’t much to yank attention from Renaissance. People were shocked they couldn’t stop listening to it; they’re used to flashes in the pan. Meticulous bodies of work that could have longevity aren’t the default these days. What's more, Renaissance’s production and Beyoncé’s clout all but ensured it would be given a shot (and patience).
If one’s gravitational pull to Renaissance was slow or stagnant, social media probably changed that. Songs seep into your consciousness when you repeatedly hear them in passing, haha. Groupthink and reputation being what it is, some folks championed the LP because of the consensus. Those with dissenting opinions might’ve remained silent, avoiding Ajay’s fate. Others who spoke up possibly had a like-minded circle or got a kick out of being contrarian.
Renaissance’s biggest engagement asset is the transitions between songs. They make your experience of the record a holistic one and entice you with a promised voyage through another world. You stay inquisitive, trying to detect an upcoming switch. Your ears are successfully primed to eagerly await the next track. If the following tune is forgettable or unappealing, you could still have an attachment to it. These tracks are so married, it felt wrong to play them out of order for months. Even the closing “Summer Renaissance” gels well into the start of “I’m That Girl.” You were liable to listen through the album all over again.
The transitions shake things up a bit as well. Many of Renaissance’s songs live in the same place musically and/or vocally. Most of the progressions within are mild.
A gradual loss of steam begins at the album’s midpoint, and it doesn’t cease until “Pure/Honey.” The savory auditory morsels and impish lyrics along the way can’t compensate for the deficiencies.
People’s online rankings of the songs confirmed which are the most engaging. Much of Renaissance’s latter half struggled to find footing with fans. Cuts such as “America Has a Problem” didn’t have limelight until buzz for early favorites (ex. “Alien Superstar”) died down. Some never really caught fire (ex. "All up in Your Mind"). Here's my two cents on a few tracks in regard to engagement:
Facebook user Chrystal West posted, “If you don't know about Bianca Jagger riding around Studio 54 on her 30th birthday...seen Paris Is Burning, Kiki, Pose, or subscribed to "Ballroom Throwback Television" on YouTube…wanted to move to New York City during the 1970s-2000 because of how seedy, dirty, and artistically vibrant it was, Renaissance may not be for you. Renaissance is black, gay, house, tribal, disco, and 1970’s vanguard in one…”
The Category Is…"Toni’s 'Secrets' Garden (Engagement):" 6.5
I know 6.5 is a lukewarm score, but hear me out. Renaissance is not readily digestible. As Chrystal West highlighted, it’s very niche and esoteric. Without knowing the frame of reference and/or having an affinity for its central genres, it would be an acquired taste. Some might’ve had an aversion to it because it’s an atypical Beyoncé record, and not what they expected or wanted to hear from her. Then, there’s the coarse and shadowy sound, with middling lyrics and vocal.
YouTube reviewer Ajay was slammed online for her tepid video reaction to the LP, where she said she’d have to sit with it. A mere two months later, she posted a revisit clip (now deleted) getting her whole life to it. She was willing to admit what many wouldn’t: Renaissance is a ‘grower’ album. Lucky for Beyoncé, the soil is fertile for that. Had this project come out at a different time in the last 15 years, I’m not sure how it would’ve landed. The industry atmosphere has such stale air, there wasn’t much to yank attention from Renaissance. People were shocked they couldn’t stop listening to it; they’re used to flashes in the pan. Meticulous bodies of work that could have longevity aren’t the default these days. What's more, Renaissance’s production and Beyoncé’s clout all but ensured it would be given a shot (and patience).
If one’s gravitational pull to Renaissance was slow or stagnant, social media probably changed that. Songs seep into your consciousness when you repeatedly hear them in passing, haha. Groupthink and reputation being what it is, some folks championed the LP because of the consensus. Those with dissenting opinions might’ve remained silent, avoiding Ajay’s fate. Others who spoke up possibly had a like-minded circle or got a kick out of being contrarian.
Renaissance’s biggest engagement asset is the transitions between songs. They make your experience of the record a holistic one and entice you with a promised voyage through another world. You stay inquisitive, trying to detect an upcoming switch. Your ears are successfully primed to eagerly await the next track. If the following tune is forgettable or unappealing, you could still have an attachment to it. These tracks are so married, it felt wrong to play them out of order for months. Even the closing “Summer Renaissance” gels well into the start of “I’m That Girl.” You were liable to listen through the album all over again.
The transitions shake things up a bit as well. Many of Renaissance’s songs live in the same place musically and/or vocally. Most of the progressions within are mild.
A gradual loss of steam begins at the album’s midpoint, and it doesn’t cease until “Pure/Honey.” The savory auditory morsels and impish lyrics along the way can’t compensate for the deficiencies.
People’s online rankings of the songs confirmed which are the most engaging. Much of Renaissance’s latter half struggled to find footing with fans. Cuts such as “America Has a Problem” didn’t have limelight until buzz for early favorites (ex. “Alien Superstar”) died down. Some never really caught fire (ex. "All up in Your Mind"). Here's my two cents on a few tracks in regard to engagement:
Renaissance World Tour (BeyonceOnline.org) 1-“I’m That Girl” is a catfish. You’d think a song launching a dance-centric record with that title would be trumpeting. Rather, it’s anti-climatically caliginous and flat in sound. It’s Beyoncé’s worst album opener.
2-“Cuff It” wins the engagement race hands down, hence it being the only song to trigger an international dance craze on social media. It’s not bogged down with heavy and dark effects. Therefore, the funky live instrumentation and dulcet vocals are crisp. Beyoncé doesn’t take a backseat to production on this one. It’s frustrating no other tune on Renaissance is as infectiously melodious and cheerful. “Pure/Honey” and “Summer Renaissance” tease it in parts. Sidebar: This fan-made Sims video for “Cuff It” is everything!
3-“Energy,” “Move,” and “Heated” have similar pros and cons in terms of engagement. Due to their African and Caribbean flavoring, they’re attractively rhythmic and voluptuary. Having zippy, quotable lyrics is a boost. The flaw is they’re built around their apexes. For “Energy” and “Move,” it’s their second half where there’s an uptick or longer, fuller, and more melodic chords. On “Heated,” it’s the spoken ballroom outro. Most of each track is like warm-up filler because of the peak-driven design.
4-“Break My Soul” is a near-perfect lead single. Its sentimental throwback to 1990’s house music and Big Freedia sample clues you into Renaissance’s concept. The aura of familiarity and lively piano is tugging, but the song gets monotonous. Just before it could lose the listener, its exuberant bridge and fall saves the day. Hearing the empowering lyrics via a gospel choir and Beyoncé’s harmonies is rejuvenating. @CantReplaceJRad on Instagram perceives it as a certified 'worship song.' He mashed it up with “Time to Come Home” from The Fighting Temptations film soundtrack; it’s fantastic.
5-“Church Girl” is polarizing to the people. For every ranking I saw with the song near the bottom, one listed it toward the top. I hypothesize the sound is the root of the divide. It’s got a New Orleans bounce finish, but it’s also a call to a fad sector of early 2000’s rap. Subsequently, “Church Girl” may seem dated to some.
6-“Virgo’s Groove” is winding, chanting, and erotic; an obvious salute to disco and the 1970’s. The snag is it's missing the essential ingredient for keeping a lengthy song from plateauing. The music and vocals need to escalate or have a robust ebb and flow. “Virgo’s Groove” tows its line until its succulent final two minutes. Beyoncé goes ham and there’s this cyclic, luring ominousness that brings Michael Jackson to mind (maybe "Thriller?"). Until then, you might think “Whoa, this cut’s been on for a while.” Being after the super chill “Plastic off the Sofa,” this zone of Renaissance is a touch sleepy.
7-“Thique” has its springiness and fun lyrics, but it’s musically limited. It has few notes and chords, and its composition is chaotic and directionless. Elements come and go without apparent cause. The result is a track that sticks out like a sore thumb because its production sounds amateurish and cheap. Beyoncé is mostly talk-singing on it, so it has no vocal reprieve. It becomes boring fast.
8-“All up in Your Mind” is minimalist too. It has a smidge of hold because of Beyoncé’s haunting vocals and its portentous, yet seductive energy (à la the last of "Virgo’s Groove"). This sucks you into the song’s concept of a dangerous infatuation, but it’s not enough. It’s hard to see "All up in Your Mind" as anything more than a long prelude to its cuter sister “America Has a Problem.”
9-“Pure/Honey” didn’t get caught in the traps other tracks did. It pursues your ear with how it steadily rises and pulsates. By recurrently flipping in sound, it dodges tedium. The sweet and sailing second portion hearkens back to “Blow” on Beyoncé’s 2013 self-titled album. You’d think they shared a sample. I’m glad she recognized this and put the two songs together on her tour.
2-“Cuff It” wins the engagement race hands down, hence it being the only song to trigger an international dance craze on social media. It’s not bogged down with heavy and dark effects. Therefore, the funky live instrumentation and dulcet vocals are crisp. Beyoncé doesn’t take a backseat to production on this one. It’s frustrating no other tune on Renaissance is as infectiously melodious and cheerful. “Pure/Honey” and “Summer Renaissance” tease it in parts. Sidebar: This fan-made Sims video for “Cuff It” is everything!
3-“Energy,” “Move,” and “Heated” have similar pros and cons in terms of engagement. Due to their African and Caribbean flavoring, they’re attractively rhythmic and voluptuary. Having zippy, quotable lyrics is a boost. The flaw is they’re built around their apexes. For “Energy” and “Move,” it’s their second half where there’s an uptick or longer, fuller, and more melodic chords. On “Heated,” it’s the spoken ballroom outro. Most of each track is like warm-up filler because of the peak-driven design.
4-“Break My Soul” is a near-perfect lead single. Its sentimental throwback to 1990’s house music and Big Freedia sample clues you into Renaissance’s concept. The aura of familiarity and lively piano is tugging, but the song gets monotonous. Just before it could lose the listener, its exuberant bridge and fall saves the day. Hearing the empowering lyrics via a gospel choir and Beyoncé’s harmonies is rejuvenating. @CantReplaceJRad on Instagram perceives it as a certified 'worship song.' He mashed it up with “Time to Come Home” from The Fighting Temptations film soundtrack; it’s fantastic.
5-“Church Girl” is polarizing to the people. For every ranking I saw with the song near the bottom, one listed it toward the top. I hypothesize the sound is the root of the divide. It’s got a New Orleans bounce finish, but it’s also a call to a fad sector of early 2000’s rap. Subsequently, “Church Girl” may seem dated to some.
6-“Virgo’s Groove” is winding, chanting, and erotic; an obvious salute to disco and the 1970’s. The snag is it's missing the essential ingredient for keeping a lengthy song from plateauing. The music and vocals need to escalate or have a robust ebb and flow. “Virgo’s Groove” tows its line until its succulent final two minutes. Beyoncé goes ham and there’s this cyclic, luring ominousness that brings Michael Jackson to mind (maybe "Thriller?"). Until then, you might think “Whoa, this cut’s been on for a while.” Being after the super chill “Plastic off the Sofa,” this zone of Renaissance is a touch sleepy.
7-“Thique” has its springiness and fun lyrics, but it’s musically limited. It has few notes and chords, and its composition is chaotic and directionless. Elements come and go without apparent cause. The result is a track that sticks out like a sore thumb because its production sounds amateurish and cheap. Beyoncé is mostly talk-singing on it, so it has no vocal reprieve. It becomes boring fast.
8-“All up in Your Mind” is minimalist too. It has a smidge of hold because of Beyoncé’s haunting vocals and its portentous, yet seductive energy (à la the last of "Virgo’s Groove"). This sucks you into the song’s concept of a dangerous infatuation, but it’s not enough. It’s hard to see "All up in Your Mind" as anything more than a long prelude to its cuter sister “America Has a Problem.”
9-“Pure/Honey” didn’t get caught in the traps other tracks did. It pursues your ear with how it steadily rises and pulsates. By recurrently flipping in sound, it dodges tedium. The sweet and sailing second portion hearkens back to “Blow” on Beyoncé’s 2013 self-titled album. You’d think they shared a sample. I’m glad she recognized this and put the two songs together on her tour.
Renaissance World Tour (BeyonceOnline.org) The Category Is…"Michael Jackson's 'Moonwalker' (Versatility):" 6.0
Beyoncé experimented with a dance record, and it didn’t emit as contrived or ill-fitted. That’s a testament to her flexibility. Renaissance itself is a tasty genre gumbo, but it lacks cross-appeal. A non-explicit version of “Cuff It” is the most suitable for a range of events and social demographics. “Plastic off the Sofa” is a close second.
This album isn’t a 'general public' piece. Again, its sound is abrasive and idiosyncratic. Its content is cheeky and culturally-specific. There’s absolutely nothing wrong with speaking to a cohort; I wouldn’t want Renaissance to be any other way. It just doesn’t score high for versatility, is all.
A friend of mine thinks the moderate versatility is why Renaissance didn’t win the Grammy Award for Album of the Year. He said, “The board has an assortment of people that are picky eaters. The more universally palatable you are, the more likely you’ll get that trophy.”
The Category Is…"Motown Magic (Potential for Timelessness):" 6.5
Scoring this category was tricky. Renaissance is a oeuvre that’s refreshed dance sub-genres in the mainstream. With its production quality and futuristic nature, I doubt it’ll ever sound démodé. It has pop culture and socio-political value. The album’s potential to pass the test of time is auspicious from that angle.
The reserved vocals and shaky engagement and versatility is what makes things debatable. Records branded as timeless are usually remembered for their winsome sung parts and melodies, and broad application. Renaissance will be a revered LP, but I don’t know if any individual songs will be viewed as etching staples.
The Category Is…"'Extra Smooth' Like Aaliyah (Artistic Growth):" 8.0
Beyoncé’s career has flourished because she isn’t lazy or complacent. Each of her solo records is vastly different from the last, and she doesn’t get enough props for that. Her artistic self-awareness is high. That’s why she can give variety without coming off fickle or confused. She doesn’t care for following trends or using conventional musical structures. Having grown up watching performers like Michael Jackson, Beyoncé is dedicated to creating collective and immersive listening experiences. She continues to expound on these strengths with Renaissance. The knock is that her essence isn’t as pervading. If someone knew nothing about her and wanted to get acquainted, I wouldn’t suggest this album as 'definitive Beyoncé.'
One area where Beyoncé and her projects are stationary is with lyrics. The storytelling should be more expansive and thorough. When shortcuts are taken, passages will be incomplete or have an illogical flow. Widening the topical net is another avenue to improving lyrics. Address the nuances of human emotion: anxieties, types of grief, internal dialogues, existential crises, etc., haha.
Going into Acts II and III of Renaissance, I salivate at the rumor they’ll be country and rock records. We already know she’ll hit it out of the park; “Daddy Lessons” and “Don’t Hurt Yourself” were awesome sneak peeks. Hopefully, they won’t be as dark and talk-singy. Emo-Yoncé’s had her run. Let’s have some Sunny D-Yoncé, haha.
Now that I’ve measured every inch of Club Renaissance, what do y’all think? Agree? Disagree? Do you have comments, questions, loves, hates, fears?
Beyoncé experimented with a dance record, and it didn’t emit as contrived or ill-fitted. That’s a testament to her flexibility. Renaissance itself is a tasty genre gumbo, but it lacks cross-appeal. A non-explicit version of “Cuff It” is the most suitable for a range of events and social demographics. “Plastic off the Sofa” is a close second.
This album isn’t a 'general public' piece. Again, its sound is abrasive and idiosyncratic. Its content is cheeky and culturally-specific. There’s absolutely nothing wrong with speaking to a cohort; I wouldn’t want Renaissance to be any other way. It just doesn’t score high for versatility, is all.
A friend of mine thinks the moderate versatility is why Renaissance didn’t win the Grammy Award for Album of the Year. He said, “The board has an assortment of people that are picky eaters. The more universally palatable you are, the more likely you’ll get that trophy.”
The Category Is…"Motown Magic (Potential for Timelessness):" 6.5
Scoring this category was tricky. Renaissance is a oeuvre that’s refreshed dance sub-genres in the mainstream. With its production quality and futuristic nature, I doubt it’ll ever sound démodé. It has pop culture and socio-political value. The album’s potential to pass the test of time is auspicious from that angle.
The reserved vocals and shaky engagement and versatility is what makes things debatable. Records branded as timeless are usually remembered for their winsome sung parts and melodies, and broad application. Renaissance will be a revered LP, but I don’t know if any individual songs will be viewed as etching staples.
The Category Is…"'Extra Smooth' Like Aaliyah (Artistic Growth):" 8.0
Beyoncé’s career has flourished because she isn’t lazy or complacent. Each of her solo records is vastly different from the last, and she doesn’t get enough props for that. Her artistic self-awareness is high. That’s why she can give variety without coming off fickle or confused. She doesn’t care for following trends or using conventional musical structures. Having grown up watching performers like Michael Jackson, Beyoncé is dedicated to creating collective and immersive listening experiences. She continues to expound on these strengths with Renaissance. The knock is that her essence isn’t as pervading. If someone knew nothing about her and wanted to get acquainted, I wouldn’t suggest this album as 'definitive Beyoncé.'
One area where Beyoncé and her projects are stationary is with lyrics. The storytelling should be more expansive and thorough. When shortcuts are taken, passages will be incomplete or have an illogical flow. Widening the topical net is another avenue to improving lyrics. Address the nuances of human emotion: anxieties, types of grief, internal dialogues, existential crises, etc., haha.
Going into Acts II and III of Renaissance, I salivate at the rumor they’ll be country and rock records. We already know she’ll hit it out of the park; “Daddy Lessons” and “Don’t Hurt Yourself” were awesome sneak peeks. Hopefully, they won’t be as dark and talk-singy. Emo-Yoncé’s had her run. Let’s have some Sunny D-Yoncé, haha.
Now that I’ve measured every inch of Club Renaissance, what do y’all think? Agree? Disagree? Do you have comments, questions, loves, hates, fears?
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