Beyoncé’s “Renaissance” Shocks Some Life Into a Culture Gone Inert

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Beyoncé’s “Renaissance” Shocks Some Life Into a Culture Gone Inert
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It’s been six years since Beyoncé released “Lemonade,” a personal and cultural tour de force. With “Renaissance,” she’s looking to lighten the mood.

The stakes could not be higher for Beyoncé—an artist who has challenged herself at every turn—to do more, to be more, to say more. She has, throughout her solo career, rewritten the rules of album releases, of stage performance, of music videos, of Black representation, of cultural legacy, and of self-expression. The final frontier of innovation, the only thing left for her to achieve, is to walk away from it all. And that’s what she’s trying to do these days—sort of.

After such a personal and cultural tour de force—not to mention six years of sociopolitical turmoil and a pandemic—Beyoncé, like so many, is now looking to lighten the mood. She’s chosen the dance floor as her new spiritual home for her seventh solo album. Where “Lemonade” showcased a broad musical palette and a narrow, intensely personal subject matter, “Renaissance,” which came out at the end of July, is the inverse: a work of sonic hyper-specificity with an egalitarian spirit.

At one point, the record deceives you into thinking that it’s about to take a political turn with a track called “America Has a Problem,” but it’s a playful bait and switch: the song is a deliciously grimy ode to Southern cocaine-dealer rap of the early nineties, complete with a sample of a song called “Cocaine.” “Renaissance” is an album designed to be consumed like a d.j. set, with few real song breaks.

“Renaissance” is not the first time that a star of Beyoncé’s stature has turned to dance music to escape the claustrophobia of the pop marketplace. Dance music, house in particular, has deep roots in Black culture, but has been perennially neutered by white artists refashioning it into generic pool-party soundtracks.

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