The second album, in addition to Rosalia’s Motomami, to appear on all three New York Times critics’ ‘best of 2022’ lists is, predictably, Beyoncé’s Renaissance. This album has been a huge critical smash since it dropped in late July.
I have to admit I haven’t listened to the album all the way through since the day it came out. Back then I wrote that, while I recognized its appeal for its target audience, I didn’t count myself among that audience.
I’ve always been a devotee of Beyoncé as a celebrity, force of nature, and all-around iconic goddess, but I’ve never been a huge fan of her music.
I’ve enjoyed her singles over the years (specifically, ‘Crazy in Love,’ ‘If I Were a Boy,’ ‘Irreplaceable,’ Halo,’ and ‘Single Ladies’) but the accompanying albums never grabbed me.
That changed with the singer’s 2013 self-titled release, her first “visual album,” a contemporary R&B release that hit on all cylinders. Whether it was the erotic hip-hop of ‘Drunk in Love,’ the disco-funk of ‘Blow,’ or the ecstatic pop balladry of ‘XO,’ I suddenly understood the hype.
A couple of weeks ago we received our first taste of Beyoncé’s first solo studio album since 2016’s Lemonade. ‘Break My Soul’ is the lead single of Renaissance, a project due on July 29 that Queen Bey calls her “most ambitious musical project to date.”
Lemonade was both a groundbreaking release — a complete visual album recorded in secret and dropped with no advance notice — and a phenomenal piece of music. It’s a tough act to follow, especially after half a decade. I eagerly anticipate the new directions Beyoncé will no doubt take on Renaissance.
Meet Me In Montauk 