Renaissance: How Beyoncé’s New Album “Heated” Up My Summer [Review]
Everything you wanted to know about Beyoncé’s Renaissance but didn’t bother to find out in other reviews. Will you still enjoy the album after reading this one? I dare you to press play.
Artist – BEYONCÉ
Album – Act I: Renaissance (29.07.2022)
“Renaissance: How Beyoncé’s new album “Heated” Up My Summer”. Did you see what I did here? In case you don’t know or haven’t listened to Beyoncé’s new album yet, “Heated” is one of the 16 songs on Renaissance, or Act I, as Beyoncé let it be known. Yes, apparently, this is the first instalment of a cryptic trilogy, and two more albums are on the way. Maybe Act II will be a visual album, which I suspect would satisfy immensely those fans demanding… better yet, inquiring (the Beygency might be watching!) about the videos on social media. That’s a good question, though: where are the visuals?
My guess is that Beyoncé is pulling a Drake. Do you remember the music videos from Views? Exactly! I spent the whole summer of 2016 with “One Dance” and “Controlla” stuck in my head without watching any visual promotion. “How dared he?”, I thought back then. He dared because he’s Drake. And Beyoncé can pretty much do whatever she wants!
We Never Complain and Beyoncé Seldom Explains
At this point in Queen Bey’s career, we’re just meant to marvel at her work and be thankful whenever she puts out a new record. The Never Complain, Never Explain motto seems fitting to describe her relationship with her ‘subjects’, but with a twist: we are not supposed to complain, and she seldom explains. Beyoncé’s silence has become an essential element of her brand, and I honestly see it as a smart approach: let the music speak for itself.
However, this time around, Beyoncé communicated far more than she got us used to before a new release. Instead of dropping the customary surprise album, the artist gave us more than a month’s heads-up with a Vogue cover story, a lead single (“Break My Soul”), and a social media announcement. Beyoncé even ‘allowed’ Renaissance to be leaked two days before the release date. If I were inclined to spread conspiracy theories, I’d say that ‘leak’ was rather suspicious. Luckily, I’m not that kind of person.
Renaissance: An impressive jigsaw puzzle of samples and interpolations
The 29th of July (release date) came, and I didn’t jump immediately on Spotify to listen to the album. In the meantime, I was seeing and hearing the word ‘interpolation’ dominating all the conversations around Renaissance. It was as if, all of a sudden, everyone was an expert in samples and interpolations. Not to mention the whole Kelis controversy, which threw a spotlight on the issue. And what was the issue, exactly? Among interpolations, samples and contributions from other artists and friends, Renaissance has close to 100,000 credits. I didn’t count all of them, but I’m trusting someone at Pitchfork did.
Nevertheless, you just need to check the credits’ information on Beyoncé’s website to confirm Queen Bey didn’t want to leave anyone uncredited. The list is so extensive and detailed that I suspect the fly buzzing in the studio while Beyoncé was recording also got a mention. Whoever and whatever produced any kind of sound for Renaissance is credited.
Now, is the impressive number of interpolations creatively brilliant or just overwhelming? After listening to the album so many times, I’m used to them now. But I risk saying not all are indispensable. The “Milkshake” interpolation is a case in point: nobody really noticed when Beyoncé removed it. By the way, what a track “Energy” is, featuring Beam! The title couldn’t be more fitting. But more on this song and others later.
Despite my opinion, I understand that each sample and interpolation were intentional and relevant in the creative process of what is, in fact, a great album. Yes, I do enjoy Renaissance immensely, it fulfils its purpose (see Instagram post above), and it’s an excellent treat to all the clubgoers, revellers, and even regular homebodies who endured on and off confinements, lockdowns, and forced introspection over the past two years. Thank you, Beyoncé, for the gift! However, truth be told, my first instinct was to exchange it.
First impressions are not always lasting
I was not terribly impressed with “Break My Soul” when it came out. It’s a nice track, but I felt something was missing. Probably, I was not expecting Beyoncé to ‘resurface’ with a new single with such a strong and pervasive house sample interwoven – Robin S’s “Show Me Love”. And mind you, I love that song. It’s a classic! However, the following words are painful to write because they expose the root of MY problem: seeing 1990’s hits as classics when I remember so well dancing to them or the school year I was in when they were released.
The same applies to “Alien Superstar”. I was in the shower, finally listening to the whole album, when I caught that Right Said Fred’s “I’m Too Sexy” interpolation. Not surprisingly, my reaction was, “Oh no, another artist sampling “I’m Too Sexy”. Which brings me to my first impression of Beyoncé’s seventh solo album: with all those samples and interpolations, Renaissance didn’t sound fresh and ground-breaking. A weird sense of déjà vu enveloped my senses and impelled me to make a harsh judgement.
Not that my initial viewpoint was utterly unreasonable, but it was limited. Yet, that’s what first impressions usually are: a quick assessment mostly driven by feeling (which is extremely important), but not an analytical one.
So, what changed?
As I said before, I’m not crazy about samples, especially when I’m fond of the original recording. Moreover, I’ve developed this strange quirk of playing (sometimes obsessively) “who sang it first” in my head. It happens every time I spot a sample or interpolation in a song. If I have to Google the answer, I lose points. I know, odd! “Heated”, for example, almost made me lose my mind. I can swear there’s a sample or interpolation somewhere, but I can’t identify it. Please help in the comments!
See, this massive pastiche of sounds, old and new, classic and contemporary, in just one album befuddled me. Renaissance combines various rhythms, such as house music, early-eighties boogie, classic soul, Disco and Afrobeats. I know there are even more to be mentioned! In sum, it’s a luxurious celebration of music, where history and respect for the elders become an underlying theme. Sadly, except for “Heated”, “Move”, and “Thique”, I wasn’t particularly excited about Renaissance after a first listen. I went to sleep feeling that “It’s an OK album”. However, something changed the very next day.
“Have you listened to Beyoncé’s new album?”, my sister asked me out of the blue. ‘Alien Superstar’ is my song!”, she followed enthusiastically. Note: my sister is not a member of the Beyhive. That could only mean one thing: I must play Renaissance again and listen to it this time with an open mind. In other words, I should not get distracted by samples and interpolations of songs from the past. Do I like the final product or not? Do I feel the urge to sing along and dance to the songs? These are the questions I should be able to answer. Soon, it became clear what the real answer was.
It’s all Drake’s fault!
High temperatures, reconnecting with family and friends, extreme drought and Beyoncé’s Renaissance pretty much summarise my summer. That’s what you get when you spend that time of the year in southern Europe while it’s suffering from the effects of climate change. Speaking of which, “Heated” was the song that unblocked my senses to Renaissance’s… flair.
Is Renaissance Beyoncé’s best album? No, Lemonade (2016) still wears the crown. But this is a different Beyoncé, definitely more mature musically and personally. By the way, please stop comparing Renaissance to Lemonade. That was a unique concept album that must have required multiple therapy sessions and hours of diary writing. Let’s face it, Beyoncé may never release a similar project again, and I truly hope she doesn’t have a reason for it! So, time to let it go.
“Heated”
Now, “Heated”. I knew Beyoncé had paired up with Drake to produce one of the songs, but I wasn’t sure which one it was. It didn’t take me long to figure it out. An addictive, sticky, Afrobeats track that compels you to an involuntary dance and sing-along? That could only be “Heated”. What kind of sorcerous, voodoo-like talent does Drake have to get me to dance to his hits every time? Well, not every time (still not sure about his new album), but quite often. There’s something wondrous about him!
Once “Heated” was in my system, “Move” followed. In “Move”, Beyoncé teams up with the legendary Grace Jones (Yes!) and the Nigerian singer Tems. I knew I was finally in Renaissance mode when I started singing the lyrics “Move out the way”, out of nowhere, in the middle of the street. “How many times (How many times) I’ma say it?/It’s a home run when the team touch base”. Team Beyoncé, Jones and Tems hit a home run with that dancehall-infused track. After that, I woke up the next day with “Thique” pounding in my head.
Ballroom culture on Renaissance
“Thique” was one of the first songs that caught my attention and that I liked immediately. The thumping and repetitive cadence of the beat is energising. Also, it was when I first realised how pervasive the references to the ballroom scene are on Renaissance. They show up quite early, and “Alien Superstar” (track 3) is a great example – “Category, bad bitch”.
The infectious sound of “Thique” possesses my body and compels it to break into short pulsating movements in a satiating abandonment to the rhythm. It’s sexy, bold, sensual, confident, warm, sticky, unbound, feverish, sweaty, and exhaustingly satisfying. “Thique” is an audacious dare to own the dancefloor, where I imagine a ballroom battle taking place.
However, it’s in “Pure/Honey” where the ballroom culture is most vibrant, where Beyoncé samples Kevin Aviance’s “Cunty” and Moi Renee’s “Miss Honey”, both drag icons. Other names worth mentioning are the rapper Big Freedia, whose voice features in “Break My Soul”, and DJ Honey Dijon, who produced “Cozy”. Speaking of which, every time I hear that line “Might I suggest you don’t fuck with my sis” my memory immediately downloads the images of Solange attacking Jay Z in a lift while Beyoncé remains almost motionless. Years later, Lemonade came out and no further explanations were needed. Nevertheless, the world (and Jay Z) learned that day not to mess with any of the Knowles, especially the youngest.
Tribute or exploitation?
Despite enjoying Renaissance immensely and appreciating all the work involved, especially the research of old and new sounds, the ballroom scene as a main source of inspiration is hard to ignore. Therefore, the question of timing and the reason for such inspiration becomes pertinent. Why now, Beyoncé? Why use the underground sounds of a 50-year-old subculture that aims to be a safe space for queer communities?
Surprisingly, Beyoncé offered a part of the answer pre-emptively in a rare open letter to her fans on the eve of Renaissance’s release:
“A big thank you to my Uncle Jonny. He was my godmother and the first person to expose me to a lot of the music and culture that serve as inspiration for this album. Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long. This is a celebration for you”.
Beyoncé
Yes, the same Uncle Johnny in “Heated” who made Beyoncé’s dress with cheap spandex. I knew that song was special! I accept Beyoncé’s explanation, and I’m not challenging her on her words. I’m an always-give-the-benefit-of-the-doubt kind of person. However, I’m also listening to the voices who have expressed their concerns about the commercialisation of the ballroom scene, especially by those who are not part of marginalised LGBTQ+ communities and profit handsomely by doing so.
Beyoncé’s Renaissance: 16 tracks, a dance marathon, and lustful lyrics
Despite not feeling extremely excited while listening to Renaissance for the first time, I could clearly perceive Beyoncé’s goal: to create an uninterrupted dance session where classic and new sounds interconnect seamlessly. It actually reminded me of Madonna’s Confessions on A Dance Floor (2005). Do you remember when the Queen of Pop sampled an ABBA hit in “Hung Up”?
Seamless transitions and an unbreakable sequence
Speaking of smooth and seamless transitions, shall we talk about “Cuff it”, “Energy” and “Break My Soul”? Those tracks must, let me repeat, MUST be played in that exact order. I recommend listening to the album without skipping songs, to begin with. But if that’s not possible, at least do not break that sequence. Also, do not listen to those tracks on some random playlist: once you play them individually, they lose part of their strength and allure.
For example, my perception of “Break My Soul” completely changed after listening to it in the “Cuff It”-“Energy”-“Break My Soul” sequence. Even that unsettling rap with the word “outside” became more palatable. Actually, no. I’ve just chosen to ignore it. Seriously, isn’t there a rhyming word for ‘outside’ to avoid that hissing repetition? I know it’s a challenge, but there must be a way!
As to “Energy”, my opinion hasn’t changed from the beginning: what a smooth, invigorating track! Its appeal lies in the contrast between the relaxed vocals and the buoyant Afrobeats rhythm. It deserves a nice choreography, and I’ve already come up with one that would be a success at any house party, wedding, family reunion… or on TikTok. I’m sitting on a potential viral video right now.
Unfettered hedonism
Track 4, “Cuff It”, is not one of my favourites but is rapidly growing on me. It exudes an incredibly positive vibe and confidence. Beyoncé knows what she wants and needs and is not coy about it: the lyrics are rather explicit. If there was still doubt that Beyoncé is done with the “good girl” image that clung to her for most of her career, this new album clears it out. Renaissance doesn’t represent a rebirth of Beyoncé but solidifies a message she’s been conveying for a while.
And what message is that one? That she is an independent, grown woman who, despite her self-made success (“I’m That Girl”) and untouchable aura, is flesh and blood. She desires, is sensual, sexual (“America Has Problem”), and flawed. Her weakness: love. Therefore, if you’ve skipped some of Beyoncé’s albums throughout the years, you might be surprised by her bluntness in “Cuff It”, as well as in other songs.
“Cuff It” is a fun, hedonistic track where Beyoncé becomes unexpectedly adventurous and unbound. It has that Janet Jackson’s “Go Deep” vibe. But as to the video, I imagine a sanitised (this is still Beyoncé!) version of Prodigy’s “Smack My Bitch Up”. Also, am I the only one who detects a tinge of psychedelia in those lyrics? “Spaceships fly”. Really? Someone must have had too much to drink.
An addictive and salacious problem
If you haven’t listened to Renaissance yet and were hoping it included a socially conscious song à la “Freedom” (Beyoncé feat. Kendrick Lamar), I’ll spoil it for you: it doesn’t. But I understand if you’ve gotten your hopes up after finding “America Has a Problem” in the tracklist. I know, the title is deceiving and works as ‘playbait’ for those, like me, who weren’t aware of the sample from Kilo Ali’s “Cocaine”.
However, instead of discussing substance addiction, in “America Has a Problem”, Beyoncé is the actual addictive agent, in an analogy that just avoids being distasteful. This is another track that grew on me the more I listened to it. Beyoncé’s bold energy is so appealing that thoughts of acquiring new sexy black lingerie popped into mind.
Another track with a misleading title is “Church Girls”. I thought, “Ok, here comes the single that washes all the debauchery of “Cuff It” away. Not exactly! Beyoncé said what she said in the previous tracks and doesn’t backtrack it in “Church Girls”. She even reinforces it and delivers an important message: “Nobody can judge me but me, I was born free”. It’s a sweet redemption for someone who, in the past, was pointing fingers at “Nasty Girl[s]” for no good reason – that Destiny’s Child single did not age well.
Beyoncé pours honey into our ears
“Plastic Off the Sofa” and “Virgo’s Groove” are two other tracks I strongly recommend listening to back-to-back. They’re classic Beyoncé and put on full display her famous vocal prowess. It’s Beyoncé in her most joyful, vulnerable, and loving mode, singing in a heart-warming mellifluous tone. Queen Bey pours honey into those lyrics, and I love listening to them, especially “Virgo’s Groove”. I might be a “Sagittarius”, but I do relate. Love is really Beyoncé’s weakness, and she embraces it without reservations.
The words “You’re the love of my life” sound beautifully in Beyoncé’s voice. Her feelings become palpable at every note as her words serenade our ears. I can’t avoid smiling whenever I relax and give in to this groove. “You’re the love of my life” is expressed with the happiness and clarity of someone who has seen the other side of love, where pain and sorrow are often intolerable companions. Despite all the hurdles, or because of them, today, she is certain about the love of her life. It sounds so definitive… But it’s also beautiful! Many people live all their lives without being able to claim that.
[Pause]
Never date an artist because you’ll soon be building castles in the air about your feelings of love for someone. Is it real love? Don’t let a great song fool you and make you daydream about it. Listen to Lemonade, instead, to remind you how relationships can be less rosy. Lemonade is Beyoncé’s antidote against love madness or uncontrollable foolishness. Clever woman! And thank you!
[Resume]
A glittering “Summer Renaissance” for the finale
The dance marathon ends with another easily recognisable sample, this time from the Queen of Disco, Donna Summer. Not coincidentally, “Summer Renaissance” is the title of the last track, which is a thoughtful homage to the artist who performed and wrote alongside Giorgio Moroder and Peter Bellote the disco jewel “I Feel Love”. Beyoncé’s song is not as magnetic as the original it’s based on, and, once again, the ballroom subculture becomes prominent.
“Summer Renaissance” is, above all, fun, entertaining and very danceable. In sum, it encapsulates what this album is about: an hour of escapism to a world that once was before a global pandemic hit. Renaissance is the revival of carefree dancing and accessible pleasure, which we had so much taken for granted. The future (and by future, I mean the winter) might be bleak, but the summer was bright, sunny and “Heated” by a very well-crafted and studied sample of the art created throughout the last few decades of the 20th century until today. Beyoncé’s talent brought it all together in a unique production for which Renaissance is just the first act. Applause, a round of applause!
What’s your favourite Beyoncé’s Renaissance track? What do you think about the album? Go ahead and speak your mind in the comments! A word of caution: the Beygency and the Beyhive might be watching.
Carla Vicente
Music and sun lover. I live for good weather, food, beauty, inspiration, and deciphering the complexity of human relations. Unharnessed creativity is a blessing, and I'm deeply grateful for mine. My world is made of innumerable words in different languages, with multiple figures of speech. Subtlety is an art form. Directness... a work in progress. Silence: the space where loud and creative thoughts gain shape and prosper.