Beyoncé’s seventh album Renaissance debuted on July 29th of 2022 and, as the kids say: IT’S A BOP. However, what makes this album so distinctly unapologetic is its unique fusion of musical styles that would typically contradict one another. Due to Beyoncé’s legendary status as a musical genius, the combination of gospel, vogue, hip-hop and R&B blend together seamlessly.
It is important to note that many of the top songs on the album feature call outs commonly used in underground gay clubs, popularized as voguing music during the Harlem Renaissance (which is the album’s namesake). The Harlem Renaissance was an artistic movement initiated by Black voices where connections between race, gender and sexuality were expressed openly through various forms of artistic expression. Following this movement which initially occurred in the 1920s, drag balls popularized a dance style known as the “vogue.” While the modern understanding of voguing is often limited to describing a dance style it was also a form of gender expression for queer people of color. Oftentimes, participants would dress and apply makeup in order to affirm and express their gender identity. Now, Beyoncé is no rookie when it comes to creating musical masterpieces, but what exactly makes this album unique when juxtaposed next to the rest of Beyoncé’s discography?
Beyoncé and her collaborator’s use of varying musical styles serve to accentuate the complexities of the Black experience. One example of this is developed in track number 7 entitled “CHURCH GIRL” which begins with an upbeat introduction reminiscent of gospel music before transitioning into a narrative contrasting the obligations of religion and the desire to be free and let loose. Essentially, it’s a catchy club beat for anyone who’s ever found themselves wanting to buss it down to some church music. But the song also serves as a testament to the constant reconciliation between religious obligation and sexual expression from the perspective of someone who has grown up under the pressure of religious influences.
Coupled with the cultural references, the music style is completely different from her previous albums and the execution is evident through the first initial tracks. Beginning with “I’M THAT GIRL” we are introduced to Beyoncé’s seventh studio album as she recognizes her unique position as one of the most well-known Black female artists in the world. As her reputation has elevated her to God-like status one lyric states, “I didn’t want this power” but with the power she has Beyoncé redefines what it means to be an “un-American” Black American. Shaping the listener’s understanding of what it means to have social and financial power while being a member of one of the most historically disenfranchised groups in American history.
With a total of 16 songs, the album is just over an hour long and available on a variety of music apps including Spotify and Apple Music. Although much of the album is very different from Beyoncé’s usual style, there are a few tracks, like “Virgo’s Groove” and “Cuff It,” that are reminiscent of her previous work. The contrast between new and familiar music styles can be enjoyed by recent and O.G. members of the Beyhive.