The superstar’s seventh solo album is a kaleidoscopic barrage of disco, soul, house and dancehall that puts other post-pandemic party albums in the shade
, remains an ecstatic house music anthem of our times, an instant classic that unites the vibe of Robin S’s 1993 hit Show Me Love with a sample of Big Freedia’s Explode, a track credited with taking the subculture of New Orleans bounce overground in 2014. But the album’s other totem is Church Girl, a seductive trap-bass-soul hybrid in which Beyoncé details the fun had by “church girls acting loose” – an autobiography in four words.
is a banging tour de force that has no time for ballads – a first in Beyoncé’s often overunctuous discography. The closest she comes to saccharine is the loved-up Plastic Off the Sofa, a scintillating soul cut produced by Syd alongside Leven Kali that harks back to Stevie Wonder but feels contemporary and pin-sharp, with Beyoncé undersinging delicately, her butterfly vocals bolstered by multitracking.
It’s the most extreme example of an album that pounds all resistance into submission from the off, a trend-exceeding sound clash of samples, interpolations and juxtapositions, all somehow corralled into cohesion despite the approximately 100,000 credits in songwriting and production.
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