… but now it’s all I drink. Beyoncé’s latest and greatest serves up another tall glass of America’s favorite, and trust me ‒‒ you have to get a taste.
A tuft of rage. A second guessing. An explosive arrival of pride. These are just three of the themes that project themselves loud and clear through the music on Beyoncé’s sixth studio album, LEMONADE. But, if there’s one unifying message that comes out of the 12 tracks and accompanying extended visual, it’s this ‒‒ a black woman’s self-worth can never be torn down.
Now, you may be thinking, does Bey really question her own self-worth? I mean, she has one of the highest net worths in music and has repeatedly been named amongst the most influential people in the world. However, the thick, viscous drink of grief she serves to us with a list of twelve ingredients (namely, the twelve songs on the album) runs much deeper than just money. It blends together blood from wounds borne by her, her mother, her grandmother and centuries of black women systematically taken advantage of and repeatedly forgotten. Through the spilling of this blood, Beyoncé is able to celebrate the strength of these women without discounting the raw emotion of loss faced by those like her.
What this loss entails for her is unclear. There have been rumors for years about the infidelity of her husband, Jay Z, but the media has continuously failed to prove them true. Since LEMONADE, people have even gone so far as to target Rocawear designer Rachel Roy and Roc Nation signee Rita Ora as being Jay’s apparent mistresses. Bey almost affirms these rumors during multiple songs on the album, whispering “You gon’ lose your wife,” and taunting “He better call Becky with the good hair” on tracks “DON’T HURT YOURSELF” and “SORRY,” respectively. On the contrary, melody-sharing ballads “SANDCASTLES” and “FORWARD” blend aspects of heartbreak and hope, seemingly sketching the love that has prevailed in holding Bey and Jay together.
Nevertheless, whether the couple, married for eight years now, has actually gone through a cheating scandal is up in the air. In fact, whether the contextual infidelity is actually truth is not what is important. What is important is taking note of Beyoncé’s Excalibur – the power of complete media control that she so easily continues to wield. Bey’s refusal to let the public into her private life has only aided her 19 year long career. Not only was she able to cultivate a nearly spotless image – an extreme feat for a black woman under constant media scrutiny – but she has now channeled her struggle into a creative and commercial success in the form of a record, simultaneously telling her story while also empowering women and solidifying her place as one of the greatest musical artists of all time.
Even as a white man, I feel it is extremely vital to say this ‒‒ while it’s clear that anyone can relate to themes present on LEMONADE, this is a work of art made by a black woman, for an audience of black women. Systematic injustice and cheating are discourses through which Beyoncé is able to create a narrative that the black woman can relate to. Sadder moments, seen through opener “PRAY YOU CATCH ME” and later tracks “SANDCASTLES” and “FORWARD,” are indicative of the heartbreak of change. These moments are stripped raw and true, tear-inducing and almost painful to listen to, painting loneliness in loss and letting go. Others, like “FREEDOM,” featuring Kendrick Lamar, and “HOLD UP,” show a woman who has fought and won, not afraid to drop a match behind her as she marches away from past histories, relationships, and tyrannies. “I had my ups and downs, but I always found the inner strength to pull myself up. I was served lemons, but I made lemonade,” pronounces Jay’s grandmother, Hattie White, in a recording at the end of “FREEDOM.” This monologue inevitably gave Bey the idea for the name and puts the entire record into context, it being indicative of the black woman as a pillar of perseverance in a world where everything and everyone has always tried to knock her down.
Reminiscent of both 4’s eclectic blending of genres and BEYONCÉ’s dark experimentalism, LEMONADE offers Beyoncé’s most comprehensive, innovative project to date. Soul has come back as key for this album (not that it ever really left), with songs like “DON’T HURT YOURSELF,” “DADDY LESSONS” and “FREEDOM” holding base in three very different styles of music, but being unified by Bey’s effortlessly soulful, gritty vocals. With production from friend and previous producer Boots, hit-makers Diplo, Mike WiLL Made-It and Hit-Boy, as well as Knowles herself (who has both writing and production credit on every song), it’s no wonder that almost the entire album is comprised of monster speaker, bass-blasting-level bops perfect for summer parties, pregaming or even keying your ex’s new car.
So, please, as you listen, do not be confused. LEMONADE is not just a refreshing, updated twist on an age-old beverage. It’s the sweet; it’s the tang; it’s the sting of citrus on your tongue and all the way down your throat. It’s a blending of pieces that do not just build on past hits, but instead transcend time and legacy to create an entirely new recipe for success. It’s the tall drink of water, made to replenish a long dehydrated community on the verge of a revolution. And as for all others ‒‒ warning ‒‒ CONSUME AT YOUR OWN RISK.
High Points:
- The Janis-Joplin-meets-Tina-Turner level scream vocals on “DON’T HURT YOURSELF,” with that oh-so-finely layered Led Zeppelin sample and tropical drumming finishes (plus that unexpected Jack White feature too).
- Sexy, smoke-filled “6 INCH,” featuring a perfectly niche verse from The Weeknd and somehow familiar, yet innovative production.
- Pettiness has never found a better anthem than in “HOLD UP,” pairing fun, upbeat and almost childish Diplo production with effortlessly delivered tire slashing, window smashing, sing-songy lyrical work from Bey.
Low Points:
- This was hard. Maybe “DADDY LESSONS” ? Solely due to its significantly less interesting production and uniquely country jazz/blues style. Although vital for the narrative of the album, it is definitely a standout, perhaps just not in the best way.
Eric Weck
Photo Creds: HBO