Beyoncé’s latest album, Renaissance, has sparked widespread discussion among fans and critics alike. However, amidst the buzz surrounding the release, tensions have also arisen between Beyoncé and fellow artist Kelis over a sampled song. The reason behind Kelis’s discontent might surprise you. Stay tuned as we delve into the details.
Beyoncé’s highly anticipated album, Renaissance, has finally hit the airwaves, and it’s generating considerable excitement. But before we delve into the album, I’d like to extend a special thank you to HelloFresh for sponsoring this segment. With over 55 weekly options featuring fresh, seasonal ingredients, HelloFresh makes it effortless to enjoy delicious and nutritious meals. Whether you’re looking to maintain a healthy lifestyle or simply savor the flavors of summer, HelloFresh has you covered. Plus, with HelloFresh Market, you can conveniently stock up on everything you need for breakfast, lunch, snacks, and more, all while saving time for outdoor activities. As someone who has personally benefited from HelloFresh’s offerings, I can’t recommend it enough. In fact, the mouthwatering Melty Monterey Jack Burger you see me preparing here was a highlight from my recent HelloFresh box. Visit HelloFresh.com and use promo code IMPRESSIVE16 to enjoy 16 free meals across seven boxes, along with three complimentary gifts. Yes, that’s right—16 free meals and three free gifts await when you use promo code IMPRESSIVE16 at HelloFresh.com. Now, let’s dive back into the discussion.
Beyoncé has just unveiled “Renaissance,” marking her first solo album release in six years since the acclaimed “Lemonade” in 2016. In the interim, she collaborated on various projects, including “Everything Is Love” with her husband Jay-Z and “The Gift,” a soundtrack for “The Lion King.” However, anticipation among her fans was palpable for her return to solo music. “Renaissance” may potentially be a multi-part album, suggesting more to come from her extensive three-year creative journey.
Delving into the music itself, Beyoncé showcases a notable sonic departure from her previous work. The first act of “Renaissance” exudes an aura of fun, lightheartedness, and unapologetic confidence. It’s a vivacious, dance-centric collection that doesn’t delve into heavy emotional narratives or political commentary. Instead, it invites listeners to revel in its infectious beats and sassy lyricism. Notably, Beyoncé seems to have crafted this album with her LGBTQ+ fanbase and the vibrant black ballroom culture in mind.
However, it’s important to note that “Renaissance” may not resonate with everyone, given its focus on dance music—a genre that, while popular, still occupies a niche space in the broader music landscape. Nonetheless, the subjective appreciation of its quality remains open to interpretation, transcending genre preferences.
Let’s delve into the review, starting with the positives. First off, ‘Plastic off the Sofa’ struck a chord with me. Despite not being a typical dance track, its slow groove, R&B essence, and soulful, jazzy vibe reminiscent of Solange’s style resonated deeply. It’s a testament to Beyonce’s versatility and makes one ponder why a collaborative project with Solange hasn’t materialized yet. Beyonce’s vocals, harmonies, and runs in this track were stellar, making it a standout on the album.
Another gem was ‘Virgo’s Groove,’ a funky electro house piece that sets an irresistible vibe. Beyonce’s falsetto notes towards the end and her impeccable runs added flair to an already captivating track. While the album didn’t necessarily offer many big vocal moments from Beyonce, it did feature delightful harmonies and impressive runs in select songs.
‘Cuff It’ exuded a pop disco charm reminiscent of Nile Rodgers collaborations with Daft Punk and Pharrell. Its commercial pop sound akin to something Lizzo or Bruno Mars would tackle makes it a potential radio favorite. The infectious energy of ‘Alien Superstar’ with its distorted 80s vibe reminiscent of Prince’s style, particularly the captivating chorus, stood out as well. Additionally, the afro-beat dance track ‘Move’ featuring Grace Jones and Tim’s showcased another side of Beyonce’s versatility.
However, not all tracks hit the mark. While ‘Church Girl’ offered promise with its New Orleans bounce sound, the lyrical content fell short. Despite being a fun and carefree album, the lack of substance in most tracks, with ‘Break My Soul’ being one of the few exceptions, was noticeable. Some lyrics felt juvenile, which was surprising considering the involvement of The-Dream, leading to mixed feelings about certain songs.
I wasn’t particularly fond of Beyoncé’s venture into rapping on this album; I much prefer her singing. So, my feelings about the album are a bit split. I enjoy about half of the songs, but the other half don’t really resonate with me. It’s just as I mentioned earlier, this album won’t appeal to everyone. There are tracks that might strike a chord with you, and others that might not. Personally, I found myself liking some songs while others didn’t quite hit the mark for me. I think having visuals accompanying the music would have enhanced the experience. I was disappointed that they didn’t release alongside the album, though I heard they might come later. I understand Beyoncé’s desire for people to focus solely on the music, but visuals could have added another layer, at least from my perspective.
Kelis recently sparked controversy by calling out Beyoncé for sampling her song without permission on the track “Energy” featuring Beam. The sampled song in question is Kelis’s “Get Along With You.” Expressing her dissatisfaction, Kelis, who goes by the name ‘Bounty and Full’ on Instagram, voiced her frustration with the situation. She stated, “My mind is blown too because the level of disrespect and utter ignorance of all three parties involved is astounding.” Kelis learned about the sampling through her fan page ‘Kelis Trends,’ indicating that she was not approached to clear the sample.
Responding to comments on the situation, Kelis reiterated her disappointment, emphasizing that the act of sampling without permission is akin to theft rather than collaboration. The absence of credit and acknowledgment exacerbates her frustration. While fans hoped for public recognition and acknowledgment from Beyoncé, Kelis emphasized the unfairness of the situation, highlighting the lack of royalties despite it being her song.
Although Beyoncé is at the forefront of the controversy, Kelis directed some of her frustration towards The Neptunes, the producers behind her first two albums. In a previous interview with The Guardian, Kelis revealed being cheated out of her publishing rights by The Neptunes, leaving her without earnings from her early projects. This lack of ownership over her music grants The Neptunes the authority to permit sampling without Kelis receiving credit or compensation.
While Beyoncé’s involvement in the sampling controversy stirs emotions, Kelis’s broader frustration lies in the systemic issues within the music industry, particularly regarding artists’ rights and ownership. Beyoncé’s failure to reach out directly to Kelis further compounds the situation, adding to the perceived lack of respect.
In essence, the controversy surrounding Beyoncé’s sampling of Kelis’s song underscores deeper issues of ownership, rights, and respect within the music industry, with Kelis at the forefront of advocating for artists’ integrity and fair treatment.
Let me start by addressing a few key points. First off, it’s frustrating to feel disregarded and dismissed, especially when you’re an artist pouring your heart and soul into your work. As Erica mentioned, there’s a sensitivity that comes with being an artist. The issue here isn’t solely about Beyoncé sampling my music; it’s happened before with her and with other artists, and I’ve generally shrugged it off. What’s really irksome is the lack of basic courtesy in not reaching out, especially given our shared connections in the industry.
Being a female artist, particularly a black female artist in a predominantly male and often racially biased field, compounds the frustration. We’re not an extensive community, and many of us know each other or share acquaintances. So, it’s bewildering when something like this happens without so much as a heads-up. Even a simple acknowledgment of the source material would have sufficed.
This frustration extends beyond Beyoncé to figures like Pharrell and Chad, who, despite their influence and stature, seem to overlook the ethical considerations of their actions. Pharrell, in particular, has spoken about the importance of artists’ rights, yet his own practices have been questionable. During my time under his management, I witnessed firsthand how writing credits were unfairly allocated.
As for Beyoncé, her image of female empowerment through her music clashes with the reality of her actions. It’s one thing to sing about empowerment, but it rings hollow when not reflected in how you treat fellow artists. True empowerment requires genuine respect and acknowledgment of others’ creative contributions.
The term “collaboration” implies a mutual agreement and acknowledgment of each other’s involvement. What occurred here wasn’t a collaboration; it was outright appropriation without due respect or recognition. Personally, I would never dream of treating another artist in such a manner, and it’s disheartening to see it happen in this industry.
This isn’t just about venting frustration; it’s about calling out hypocrisy and advocating for change. It’s a systemic issue that affects many artists, and it’s high time it was addressed. I may have tried to steer clear of drama in the past, but when it continually finds its way to my doorstep, I can’t help but speak out. It’s not about seeking conflict; it’s about demanding fairness and respect for artists’ work. That’s all I have to say on the matter. Peace.