In Beyoncé we trust?
Beyoncé has a new album, Renaissance. You might have heard it. Or you might have heard about it. It is the summer musical event, and that has everyone in a tizzy. Reviewers are gushing. Social media is lit with euphemisms from fans. And why not? The Economist notes:
Beyoncé Knowles, who now appears to occupy a cultural position somewhere between Maya Angelou, Billie Holiday, James Baldwin and St Bernadette. She had become, in an increasingly popular phrase, “culturally dominant”. Her seventh solo album, “Renaissance”, arrives not so much as a release, but as an event, heralded not just by reviews, but by reviews of reviews, previews, analyses of track titles and parsings of the lyrics.
I have been listening to the album — on Spotify. Unlike the critics and reviewers, I am not having an eargasm. Except for two songs, Church Girl and Move, the album left me underwhelmed. She has done better work and will do better work in the future. (I am partial to I am Sasha Fierce and Lemonade, though Dangerously in Love is a guilty pleasure.)
I love her music too much to be upset. And life is too short to be upset over something, anything. More importantly, I don’t have a reason to be upset. After all, I didn’t drop a Jackson to buy the album. The upside of streaming is that if you don’t like something, you move on to something else.