Using the power of queer and black culture, sampling, hard-hitting bass, and old and modern influences, Beyoncé creates an enchanting album that was intended to bring people together. Her seventh studio album and the first of three acts was created throughout the COVID-19 lockdown as a way for her to bring joy to herself and others. Both the idea and recording were during the lockdown as a way to inspire others and promote joy and fun in a dark time.
Encouraging escapism, the album has a club setting, meant to be put together in a DJ set like sequence with the fade through into each track. The flawless transitions and nonstop energy makes it an album perfect to play in order at a party or a gathering, and just what Beyoncé was trying to do, inspire others and to promote joy. With the tour, it is clear how she is bringing people together and creating a fun and joy filled environment throughout countless shows and stadiums with crowds of tens of thousands of people.
The album was meant to be liberating, to be freeing, like dancing when no one is looking, like singing your heart out, like a night out with the girls, like a night out at a party. Using elements of club, disco, and house, Beyoncé creates her most dance-heavy work to date.
A big blast of self expression, Beyoncé shows herself, her womanhood, and her ways of having fun throughout this album while paying homage to black and gay icons and pioneers of music genres such as house, ballroom, club, and pop. Using black dance music sounds, mostly influenced by the 1970s to 1980s, this album features heavy sampling throughout songs, notably on "PURE/HONEY", "I'M THAT GIRL", and "SUMMER RENAISSANCE".
The lyrical content on this album ranges from self love, expression, dancing, and escapism, but the list goes on, this album is one big party, and everyone is invited.
Beyoncé has debuted at the number-one spot on the Billboard 200 chart seven times in a row now, with this album being the seventh. The album has since gone to platinum status, and it went number-one in Australia, Belgium, Canada, Denmark, France, Ireland, the Netherlands, New Zealand, Sweden, and the United Kingdom. Along with this platinum status, the lead single "BREAK MY SOUL" has also been certified platinum.
Notably eclectic, this album is really the definition of it. Mixing and matching with samples, genres, styles, and delivery, the album remains consistent and well arranged despite the multiple switches, everything fits into a sequence incredibly well. Almost astonishingly well.
This album made another milestone for Beyoncé, but this wasn't just a milestone, this album made history. With this album came nine nominations for the Grammy awards, leading Beyoncé to win four out of the nine nominations. These wins combined made her the most awarded person in Grammy history, not just the most awarded woman, or the most awarded black artist, the most awarded person in all of the Grammy award history. With 32 awards, this is a title that really shows the true significance of Beyoncé and her music for the people who can't already see it.
"Creating this album allowed me a place to dream and to find escape during a scary time for the world. It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom." - Beyoncé when speaking on RENAISSANCE
Beyoncé used this album as an escape from reality and all of the dark things going on around her. Almost as a therapy device for her to spread joy, not only to herself, but to others, the people working with her, the people listening, the people touched by the music.
Beyoncé is no stranger to representing her culture, but this time, she did it differently. There was "Black Is King", "The Gift", her Coachella performance, and "Lemonade", which are all heavily influenced and driven by black culture, and where Beyoncé comes from. She has always loved to express herself, and with this album she took a more fun approach that not only represents black culture, it represents queer and gay culture too, in so many ways.
The COVID-19 pandemic and its lockdown changed Beyoncé as a person, according to a statement for British Vouge, she "spent a lot of time focusing on building my legacy and representing my culture the best way I know how. Now, I've decided to give myself permission to focus on my joy.". She called this lockdown period the most creative period she has ever had in her life, and you can both hear and see that this is true.
Once the lockdown started to come to an end, Beyoncé said "we are all ready to escape, travel, love, and laugh again. I feel a renaissance emerging, and I want to be part of nurturing that escape in any way possible.". Which is where the title, RENAISSANCE came from. That was the idea behind it and what inspired her to make the title of the album.
Being the most creative period she has experienced "in her whole life", this album showcases it amazingly well, the changing styles, production, writing, and overall style and ideas, makes it clear that she was really experimenting and wanting to try something new after a sad album, her previous work "Lemonade", which was released 6 years before this one.
The best work comes after a hiatus right? At least that's the case for Beyoncé. After every break she takes, she releases something that takes the world by storm.
This album took a long, long time to grow on me, for a while, I wasn't really a fan of Beyoncé, I hadn't heard anything really outside of her hits, so this album was something so different to me. As soon as my music taste expanded, Beyoncé became one of my favorite artists of all time, with some of my favorite albums and songs ever, this album is one of my personal favorites. To me, there are no weak spots on this album, none, even though I'm not the biggest fan of "THIQUE", it still keeps the energy and does not put even the slightest dent into the album.
The more I listened, the more I loved this album.
The main inspiration for this album came from post 1970s black culture, more specifically ball culture, dance music, and club culture. Beyoncé stated she was introduced to these genres and this culture by her gay cousin, whom she calls "Uncle" Jonny. Uncle Jonny helped raise her, introduce her to the culture, and inspired her. This album was largely dedicated to him.
Beyoncé used a lot of underground and otherwise unknown or unheard of artists to sample and bring to the limelight on this album. She wanted the album to celebrate these pioneers of dance music who go underappreciated, and this album helped to bring them love, which is exactly Beyoncé wanted to do.
The metallic, disco-ball-esque style within her outfit, the way she is styled in all jewels, is yet another homage to disco music and the more stylistic elements of it. The visuals are yet to be released, but in her concert visuals (from videos I have seen), she incorporates voguing, sparkly outfits, cowboy hats, and more stylistic, shiny elements that gives the album even more of a sparkle.
This album has an incredibly innovative and fun approach to making music, it has that old-school charm, despite being just over a year old now. I wanted to do this review for the anniversary of the album, I just thought about it.. but I missed it, so too bad. Happy late anniversary to RENAISSANCE! I still remember the day it dropped. I couldn't believe it, I had never heard anything like this before, never heard any house or club music, so this was crazy to me. Almost too much for me to process to be a Beyoncé album at the time, but now, this album seems so "her".
Using too many genres and sub-genres to even count, this album is like a rollercoaster ride that will have you wanting to go again and again. Using a more unconventional style, this album also has some unconventional song structures on it, which really add a lot of depth and style to the album that shows that Beyoncé wasn't afraid of really experimenting to the max with things.
So enough of background and information.. the tracks, one by one and picked (mostly) apart!
TRACK BY TRACK: IN DEPTH REVIEWS OF EACH AND EVERY TRACK.
TRACK ONE: I'M THAT GIRL
That sample, that oh so iconic sample by an artist and song that was once almost unknown. Tommy Wright III was an underground hip-hop artist from Memphis, and the woman rapping is Princess Loko. The two of them are underground legends, and this album helped for more people to know about them and check out them and their music.
The sample is from Wright's 1994 track titled "Still Pimpin", from his self-produced album "Runnin-N-Gunnin". The sample is from a line delivered by Princess Loko, who was a featured artist on the track. The sample continues on for the whole runtime of the track, and it makes the song what it is. The sampling and the choices behind them make the album and give the tracks those extra layers they have.
Using a down-tempo, bass-heavy beat, this song opens the album in a fierce and confident way, making an incredible return from a 6 year break, this is Beyoncé as a new, changed artist with a burst of creativity.
Beyoncé shows she stands out from the rest by calling herself "that girl", and this album really does prove that she still is, and always will be that girl. She is praising herself and her accomplishments, and the way she shines above other artists, not in a braggy, egotistical way, in a confident, self-loving way that shows just how confident someone can be.
"It's not the diamonds
It's not the pearls
I'm that girl (I'm that girl)
It's just that I'm that girl (I'm that girl)
It's not my man (Ooh)
It's not my stance (Ooh)
I'm that girl (I'm that girl)
It's just that I'm that girl"
These lines show that Beyoncé does not need diamonds, jewelry, or.. Jay-Z to stand out above the rest, and to excel at what she does. Beyoncé notes that Jay-Z is not why she is famous, and that she's her own artist and her own woman, and that's what makes her famous, is her. Her music, her art, that's what has people loving her so much, that's where the fame is from.
She is popular for herself and because of herself, no one else. No one is responsible for her fame but her.
Going from singing, showing off her vocals, and a fast verse that she raps, this song jumps from place to place, and it is a song just about Beyoncé and herself, her achievements and her status, heavily resembling a rap song in terms of lyrical content and "bragging".
Beyoncé will not be stopped, and she makes that clear.
Within the video "teaser", she teased the visuals and what was to come.. but.. where are they?? That's the real question that everyone seems to be wondering. The tour is giving us some more of those visuals, but I really do wonder how she'll release them..
This track was produced by Beyoncé herself and Kelman Duran, one of many, many producers who worked on this album. So many people were involved in this album, and it lead to it becoming such an in-depth and amazingly well put together album.
Writing credits of I'M THAT GIRL went to Beyoncé, The-Dream, Kelman Duran, MIKE DEAN, Tommy Wright III, Princess Loko, and Mac-T Dog.
This track introduces the listener to the RENAISSANCE, and what the album is really about. Making an almost sci-fi-esque sound with the deep bass and heavy sounds.
The beat is heavily inspired by reggaetron, house, and afrobeats. Being a complete departure from anything Beyoncé had done in the past. The artist she once was is nowhere to be heard on this album.. except for her voice.
TRACK TWO: COZY
Prideful, empowering, and showcasing the truest form of self-love.
This song is all about loving yourself, and Beyoncé talks about being comfortable in her skin, and being "COZY" with who she is.
"Damn, I love the burning of the dagger from the words that you say" is a metaphor referring to the verbal aggressions minorities are faced with, and how they often help the community to become stronger and bigger. This discrimination leads to more pride and fighting back, which leads to a stronger, more bound together community. This could be referring to both the black community and the LGBTQ+ community all in one.
Genres such as house and club music originated in small, underground clubs, which then introduced things like ballroom culture. These clubs were oftentimes hidden and very small, as the gay and black community were discriminated against. This lead to a whole new wave of culture that was once somewhat niche until Beyoncé brought it to the spotlight. Giving it the love that has always been deserved. These genres and subcultures are revisited and celebrated throughout RENAISSANCE, giving it the themes that it is now known for.
"Dancin' in the mirror, kiss my scars because I love what they made" can be both metaphorical and literal. In this case, the metaphor could be referring to "battle scars" from what Beyoncé has been through in her life, discrimination, and any hardships she has been through are all "scars". And these "scars" helped her become the woman she is today, which is why she loves them so much.
The literal description of this line could be referring to her motherhood, and how she had to have a C-section to birth her twins Sir and Rumi in 2017. These are literal scars on her body, and she loves what they made because she is a mother, and without the scars, she would not be.
When the colors are listed around halfway into the track, it has been noted by fans who listen closely that the colors of the progress pride flag were all mentioned. Creating yet another message within the song about loving yourself and where you come for, this time giving the LGBTQ+ community love.
The "elevator incident" is also briefly (possibly) mentioned in this track with the line about her sister (sis). For those that don't know.. the elevator incident refers to when Solange, Beyoncé's sister attacked her husband Jay-Z in an elevator in 2014. This led to rumors of Jay-Z's cheating, which was confirmed by "Lemonade" 2 years later. But with "my sis", it is speculated that Beyoncé could be talking about herself, but it seems highly unlikely, and it would not be the first time Beyoncé has mentioned her sister within a song.
This is a self-love anthem that can bee seen as a huge confidence booster in listeners. Using multiple samples from more underground artists, this song is bass-heavy and fierce, as well as fun and somewhat playful.
TRACK THREE: ALIEN SUPERSTAR
With more self-love, COZY transitions flawlessly into ALIEN SUPERSTAR, the albums third overall track. Beyoncé praises herself and crowns herself as the one and only, stating no one in the world can think like she can, that she is unique, and her own being that no one can replicate if they tried.
Beyoncé titled the song ALIEN SUPERSTAR because she is out of this world, with her accomplishments and music, it is safe to say she is one of the greatest of all time. She is out of this world, making her.. in this case, an "alien". An alien superstar.
"I'm one of one, I'm number one, I'm the only one" makes the statement that she is the one and only Beyoncé. She's the only Beyoncé, and there isn't any others of her, or anyone even close to her, she is in her own league as an artist.
"Lies on his lips" may be a reference to her previous work, Lemonade, these lies could be the lies that Jay-Z was telling her. This uses a metaphor similar to "You can taste the dishonesty" from "Pray You Catch Me".
When Beyoncé says "I'm the bar", this means that she IS the bar for artists, she isn't above or under it, she is what people want to be, what people look up to and admire. She IS the standard, making her "the bar".
This is all about Beyoncé's uniqueness as an artist, and how no one can replicate her or her style.
Another reference that I could possibly be wrong about, is the mention of "Diamonds and pearls", this could be a reference to Prince and his song/album "Diamonds and Pearls". Prince is oftentimes considered another one of the greatest artists of all time, and this could be a reference to him and his influence, and how he is another artist who can not be replicated or touched, another artist in a league of their own. This could be a subtle and clever homage to another legend.
Something else to back this up, in the promotional images for RENAISSANCE, Beyoncé is seen next to a microphone resembling a gun, similar to a microphone that Prince owned and used often during his time with the NPG (New Power Generation), which he worked on "Diamonds and Pearls" with.
Beyoncé is unique, and a mastermind, and she flaunts that on this confident and bassy track.
TRACK FOUR: CUFF IT
A more groovy, disco/funk influenced track, CUFF IT has that laidback carefree vibe to it, the vibe that Beyoncé isn't afraid to just do what she pleases, and that she isn't afraid to just have fun.
About falling in love and having a night out, this song feels like a disco party straight out of the late 70s with its infectious groove and funky bassline. One of the most perfect songs to dance to that Beyoncé put on this album, but that can really be said about the whole album.
This song is about Jay-Z and Beyoncé's relationship, to "cuff" something means to take ownership, so this song is about Beyoncé taking control of him and the fact they are "cuffed" (married).
Teena Marie is interpolated on this song when Beyoncé says "ooh la-la-la-la-la-la", it is an interpolation of Teena's song "Ooh La La La", this track was also interpolated by the Fugees on their track "Fu-Gee-La", so it is a somewhat well known sample that has been used by other notable artists.
Using synths straight out of the 80s alongside trumpet, trombone, saxophone, piano, and percussion, the song mixes an incredible blend of instruments to make an incredibly funky track with a bassline fitting for a 70s album.
A little known fact about this song is that Sheila E. was the one doing the percussion work, she also played on Beyoncé's debut single "Work It Out."
TRACK FIVE: ENERGY
The shortest track on the album, running at only 1 minute and 56 seconds is another fun and incredibly bass-heavy song. The bass thumps while Beyoncé sings her heart out overtop of it and the beat continues to pound and thump behind her vocals. BEAM, a dancehall artist is featured on this track, making him the first of three features on the album.
BEAM delivers that iconic rap and the delivery of "Energy, energy", two of the things that really make the song into what it is. For such a short song, the beat changes and changes again and again while still being consistent and making it sound like a collection of many beats in one.
This song was actually controversial before release, due to Kelis being one of the writer credits due to an interpolation of her hit song "Milkshake", she showed displeasure to this because she was not contacted beforehand, but due to her contract she had signed at a rather young age, she has little to no control as to who samples her songs in any way. The interpolation was removed due to the backlash, controversy, and displeasure of Kelis. This was strange, because Kelis had not made any other complaints when other artists sampled the song.
The track fades into yet another beat switch at the end, which becomes the smash hit, BREAK MY SOUL.
TRACK SIX: BREAK MY SOUL
The lead single from the album, BREAK MY SOUL was announced and released on June 21st, 2022. Marking a transition into a new style and era, the song immediately became a smash hit and was incredibly successful both commercially and on the charts.
The song heavily samples "Show Me Love" by Robin S. and "Explode" by bounce legend Big Freedia. Big Freedia is responsible for that iconic vocal sample that makes the song in its entirety, because what would BREAK MY SOUL be without the "Release ya wiggle"?
This is one of the most house influenced tracks on the album, produced by Beyoncé herself alongside Tricky Stewart and The-Dream, this star-studded production cast made for one of the best and most acclaimed songs on the whole album.
Big Freedia stated that he was honored to be included on the track via sampling, saying this:
"It feels surreal to be on the track with the Queen Beyoncé. Once again I’m so honored to be apart of this special moment. I’m forever grateful lord. Someone please catch me.". This album touched so many artists that were involved, and it really helped some underground legends to become more well known in the mainstream.
Now certified platinum, this song was a major hit (and still is!) for good reason. The production on this track is hypnotizing, that deep house production sounds like a work straight out of the 90s, something Beyoncé does insanely well is channeling the older genres and styles of music to make something fresh out of it while revisiting and celebrating legends within her work. When she's not making straight up shout-outs, she is making subtle nods to other artists who have helped pave the road others walk on.
This song is not only fun, it is also incredibly empowering and uplifting, this is all about Beyoncé not letting hardships, work, or the pandemic break her soul or her spirit. She keeps her head up and keeps spreading positivity in dark times, pushing through and just feeling herself without a care in the world.
The track is a bright ray of light throughout the darkness, exactly what Beyoncé wanted the album to be. Robin S. was also touched by the track upon learning of the sample being used, she thanked Jay-Z and Beyoncé for giving her "her flowers" and was honored by the sample. One sample can go a long way in making an artist popular again, and this did it for both Robin and Freedia.
Beyoncé encourages each listener to be free, have fun, and not let anything break your soul and spirit, no matter how hard it is.
TRACK SEVEN: CHURCH GIRL
This song is a gospel song with a twist, using not so gospel-esque lyrics and a bassy beat, this track is something to get loose to without a care in the world. This gives the message that no matter who you are, you deserve to be able to have fun and get loose.
Giving the "good girl gone bad" theme, this song basically says that no matter who you are, you have the right to have fun and party as hard as you want. This track samples The Clark Sisters' 1981 track titled "Center of Thy Will" as well as the 1986 bounce track by The Showboys' "Drag Rap (Triggerman)", this one-bar drum loop is very heavily used throughout the track, and it has been used by other artists like Lil Wayne and Drake.
Playing into the gospel theme, Beyoncé makes several subtle references to the bible. The album has many references to God on it, but it does not have a religious theme outside of some references on this track.
“A place to scream, release, feel freedom” is how Beyoncé describes this album, and this is one of those songs that you can really hear that on.
Don't fear judgement, don't judge others, and just have fun. That's the message of this track, and the way Beyoncé wants others to see and hear it. This track did get some backlash because people thought Beyoncé was mocking church girls, but that's the opposite of what she was doing with this track. Beyoncé just wants you to know you belong to yourself, and you are your own person who can do what they please.
TRACK EIGHT: PLASTIC OFF THE SOFA
The one and only ballad on the album, PLASTIC OFF THE SOFA is a soft, yet groovy and incredibly funky track with an infectious bassline. This is the only shift to a lower energy throughout the album, and it is about the lengthy relationship that Beyoncé has had with her husband, Jay-Z, and how they have been through thick and thin together.
This is an incredibly loving ballad with slow, soft vocals, showing of Beyoncé's incredible range and talent for singing ballads, like a way to show that she's still got it after all the years she was away from making music.
The vocals on this track are reminiscent of her early work, sounding like a more mature version of a song that could be on Dangerously in Love if she wasn't so young. This is a more mature take on those themes, and all the reasons Beyoncé loves her husband after all this time.
Beyoncé has forgiven Jay after the incidents that caused Lemonade, and she is ready to show and tell the world how much she truly loves him.
TRACK NINE: VIRGO'S GROOVE
Beyoncé makes another callout to all the Virgos in the world, including herself with this groovy track, it isn't called VIRGO'S GROOVE for no reason. This song is her groove, it's her having fun and letting the beat take over while she sings her heart out, showing off her incredible silky smooth vocals.
This is yet another song about Jay-Z, and it is a more sensual disco orientated track with more of that softer, higher singing.
Running at over 6 minutes that just fly by, this is the longest track on the album, and another clever reference to old-school disco music. Disco songs were often really long to make for more dance breaks and things like that, so this song incorporated that to let the beat really ride out for as long as possible.
TRACK TEN: MOVE
The second song on the album to contain featured artists, this song features both Grace Jones and Tems. Grace was a perfect pick for a feature on this album, her musical styles match this album perfectly, and she is another legend that I don't see talked about nearly enough.
Mixing afrobeats, bounce, club, and funk, this is a jam all about moving out of the way so Beyoncé and her girls can dance the night away.
The bass on this song is enough to shake a room, and the chant-like chorus will have you wanting to dance with Beyoncé and her girls too.
TRACK ELEVEN: HEATED
Written by Drake, this is another braggadocio track about Beyoncé and her worth. The original demo for the track was leaked on the 19th of June, it was rumored that it was a Drake song for Beyoncé to feature on, but it's hers.
"Uncle Jonny made my dress
That cheap Spandex, she looks a mess"
One of the most iconic lines from the track is a shoutout to Uncle Jonny, whom the album was dedicated to. He helped Beyoncé's mother sew and create designs at the time, so this is a sweet reference to that, looking back on those memories and the times that they shared.
This track shakes off the haters and is Beyoncé having fun and being herself. The bass-heavy beat thumping behind her enchanting vocals while she sings each line with incredible range.
TRACK TWELVE: THIQUE
My personal least favorite on the album.. yes I know.. I know. But I still do love this song, it's just the one I play the least.
Another track with bass deep enough to shake a room, this is an uplifting jam all about body positivity and loving yourself and your curves. The beat on this track is hypnotizing with the way the bass rumbles and the synths follow.
A more trap influenced track with elements of deep house and club, this track is hard hitting and has more of that braggadocio style within its lyrics.
Beyoncé brags about her figure, her body, and her wealth, loving herself and her status.
The beat was originally made for Beyoncé in 2014, but she put it aside as it was too much of a major departure from her other work. She picked it back up at some point in the early 2020s, and turned it into what is now known as THIQUE.
This track took a long time to grow on me, but once it did, it really did.
TRACK THIRTEEN: ALL UP IN YOUR MIND
This is another track that took some growing on me before I really started to like it, but now it is one of my favorites from the album.
This track feels like mind control, the production is absolutely hypnotic with its deep house influence and low bass and synths.
All about getting all up in her husbands mind, this is about how Beyoncé has the ability to have people absolutely hooked on her and her music.
TRACK FOURTEEN: AMERICA HAS A PROBLEM
More about Beyoncé's addictiveness, she samples "America Has a Problem (Cocaine", putting herself as the character of the woman that is used as a metaphor within the song.
That iconic, news intro-esque beat comes from the song she sampled, as well as the title of the track. The original track is by Kilo Ali, and it came out in 1990.
This track is all about Beyoncé and how she is as addicting as drugs, how she can have people hooked and needing more of her all the time.
TRACK FIFTEEN: PURE/HONEY
Another sample-heavy track, this track samples a song by Kevin Aviance, as well as using vocals by Kevin JZ prodigy.
This track contains a reference to the Vanity 6 track "Nasty Girl", a Prince produced track that she also referenced while on the Formation World Tour. This is another call out to a legendary artist (in this case group), a common theme within RENAISSANCE.
The first half of the track, PURE is an ode to ballroom culture, it's music, artists, and voguing. HONEY is more of a disco track with lush production and harmonies while her vocals soar across the track.
TRACK SIXTEEN: SUMMER RENAISSANCE
Sampling from a disco legend, Donna Summer, this track is one big interpolation of "I Feel Love". The usage of the word SUMMER in the title is a reference to Donna.
The message behind this track is celebration and rebirth, in this case, Beyoncé becoming a new person and artist after the COVID-19 lockdown, and the rebirthing of older sounds and musical styles throughout RENAISSANCE
An incredible close to the album, it keeps the energy high and sends the album off in a soaring and shimmery fashion.
RENAISSANCE is one big dance party after all of the hardships, and it will have you wanting to put your dancing shoes on to have a night out.
The mix of modern and old, the mix of styles, Bey does it all in such a beautiful way. The themes, the empowerment, the dance value, it's all there. Beyoncé sounds incredible on this album, her vocals, her production, the writing, her delivery, it's all on point. All of the tracks are so fun and empowering for so many communities, this is one of the albums that can really unite people to just get up and dance. I think it's incredible to hear and see Beyoncé having so much fun with this album and her tour for it, she's not afraid to be herself and have her fun, and I think that's really a beautiful thing. The mix of samples, dance-pop, house, R&B, and hip-hop creates an absolutely hypnotizing blend of sounds, creating an absolutely amazing album sequenced like a DJ is playing it at a club. The transitions from track to track are truly something, they all blend together seamlessly. It's not the album you would expect from Beyoncé, but it works almost too well. There were a few tracks that felt a bit weaker than the others but it doesn't drag the quality of the album at all. This is such a big artistic statement, being personal and fun, something unlike other albums released in 2022. The features are perfect for this album and they just help the tracks they're on even more, it's amazing hearing Bey and Grace Jones on the same track, they work so well together. I really think this album is full of so much artistic value, her use of samples, house production, and themes of empowerment for so many groups is beautiful. So fun and well made.
Not so in-depth is it? I had realized just how much I REALLY could say about this album, and I could really keep going on forever.
If you haven't listened to RENAISSANCE yet, here's your sign to check it out, feel the joy, feel the fun, and enjoy the way the album sparkles and shines throughout each track. A non-stop dance party, and everyone is invited to it!
NOTE/EDIT: Just checked, and this is longer than my TPAB review by over two-thousand words. Wow.
EDIT TWO: Thank you all for all of the kind words and for taking the time to read such a big review! I went a little overboard with the writing, but I couldn't help it haha. I appreciate each and every like and comment, and I have made this my new pinned review!