“THIQUE,” of course, is next. Starting with a trappier-turn for this dance-oriented record, Beyoncé proves she can hang with Megan Thee Stallion and Nicki Minaj as she talks about her ass getting bigger. However, a minute or so in, the kicks come thumping in, and all of a sudden we’re back to dancing and vogueing like our lives depend on it. And, you know what, maybe they do. This one is mostly pretty straightforward braggadocio about money and being hot and stuff like that, but, of course, still bangs. When I’m up in the club, I’m not necessarily dissecting layered, socio-political lyrical metaphors. If I were Beyoncé, I would Totally write a song called “I’m Beyoncé, Bitch” and talk about how great it is being Beyoncé, because I now have that right as Beyoncé. “ALL UP IN YOUR MIND” is sort of an outro to “THIQUE,” as Beyoncé expounds on the points she previously made about being Beyoncé, so Jay Z better not mess this shit up. She seasons the track with a dash of hyperpop influence here, with AG Cooke (popular hyperpop artist and PC Music founder) serving as a writer. The heavily compressed, frantic nature of the music is less dancey than the rest of the album but is an interesting, experimental reprieve, bound to be all up in your mind. Do you see what I did there? Get it?
Next up: “AMERICA HAS A PROBLEM.” You’re telling me! This song samples, to the point of directly referencing, 1990’s “America Has a Problem (Cocaine)” by Kilo Ali. In this updated version, Beyoncé is insinuating that she is the addictive substance that is plaguing this country right now. Hey, I’ll take it! I went into this song expecting some social commentary, based on the title, and instead it is about how Beyoncé is cocaine. But the lack of a statement is a statement in itself, is it not? A classic bait and switch. This album is stocked to the brim with ideas of progressiveness, liberation, LGBTQ exposure and appreciation, all without making any direct references to any greater political or social institution. And that’s cool as hell! We can break these shackles of oppression by going out with our girls, dropping it low, and having a good time.
Winding down the album with the last couple songs, we find ourselves at our desks listening to “PURE/HONEY.” Again channeling her inner RuPaul, there is no way this song won’t find itself in a lip-sync battle on the next season of Drag Race. Overflowing with “vogue,” this track is practically lab-made to be strut to down a catwalk. The second half of the song (as it is in two parts, my lovely audience) breaks into a more straightforward disco influence. I don’t have much more to say about it, other than it’s another fun song. And then, at the end of this long and winding road, we finally reach “SUMMER RENAISSANCE,”, and I can’t believe this album is a whole hour long. It flew by. This song, another 70’s-esque disco banger, is a perfect closer to an album so guided by its influences. There is a direct tribute to Donna Summer, the popular disco artist, and it wears its inspiration on its sleeve as we all collectively celebrate the music of times past that paved the way for the sounds of times present. All of a sudden, I’m wearing bell bottoms at the roller-rink as we all cosplay as “Saturday Night Fever” characters. She vogues it up again at the end, listing a bunch of fashion brands that I can’t afford.
“Versace, Bottega, Prada, Balenciaga”