![]() Take the dizzying embellishments on the cooldown soul of ‘PLASTIC OFF THE SOFA’, where she syncs with the bassline while moving from chest to head voice. Renaissance is also the most vocally adventurous Beyoncé album, and her vocal command grounds the record. What could be a pithy greeting card message in lesser hands becomes a thrilling ode to body music. Through it all is a lyrical focus on sexual libration and self-love that connects the past to the present. rub up close with drag queen heroes like Moi Renee and Kevin Aviance. Like any good club mix, the many sample choices are less easy bait and more a map of inspiration. Beats glide into each other to avoid breaking the spell. It’s raunchy, camp, and constantly moving. ![]() It’s a celebration of Black dance music, of disco divas, and of ballroom culture. Renaissance explores what pop means to its creator. Still, it’s common for her songs to be categorised under the vague monolith of ‘pop’ – even when she’s doing something more singular and eccentric than her chart rivals (take the decade-defining hit ‘Single Ladies’, whose idiosyncrasy often gets overlooked because of its omnipresence). From ‘Crazy in Love’ to ‘Run the World (Girls)’, ‘Blow’ and beyond, her career returns to sweaty moments of dancefloor euphoria. After two solo albums often remembered for their hefty personal narratives and visual spectacle, Renaissance is a reminder that Beyoncé can make you move.
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