It’s no easy feat to make a 16-track album that is free of skips or where each song is simultaneously unique yet so similar. However, by some superpower, Beyoncé has done so on her seventh solo endeavor — Renaissance — a blissful dance album. With its cohesive and seamless production and groovy timelessness, the multiple Grammy Award-winner struck gold, succeeding far out of her comfort zone with magical dance and house tracks centered around fun, love, sex, queerness, audacity, and Black excellence.
Continuing her reign as Queen Supreme, Renaissance has been met with rave reviews from critics and fans alike, with praise for her undeniable versatility, vocal vastness, and musical mastery. There are numerous co-songwriters and producers in this distinguished body of work that contribute to the album’s elevating feel and multifaceted energy.
Here is a ranking of all the songs on the project, from great to best! (Because, let’s be clear, there really is no bad song on the album.)
16. “ALL UP IN YOUR MIND”
By far one of the most experimentalist tracks off the album, “ALL UP IN YOUR MIND” shows off Beyoncé’s continuous versatility as she wields such expert control over what is probably her most exaggerated vocal performance ever. The lyrics are far from subtle as she demands her rightful place in her lover’s mind. It’s Beyoncé like fans have never seen her before, and A.G. Cook’s touch is strongly felt on this track.
The song showcases Beyoncé’s openness to admit that she is in love instead of boasting about how great she is. It’s clear from this that Beyoncé has an affinity for love, just like many of us. Beyoncé has also created an exclusive poster for the song, which you can see on her official website, illustrating how much effort she put into making this song special. As is true of any Beyoncé song, she knows how to create an impression and does so with ease in “ALL UP IN YOUR MIND.”
15. “AMERICA HAS A PROBLEM”
The title initially led fans to think Beyoncé would be making another political stand reminiscent of “Formation”, but in true Queen fashion, she flipped the switch on us all, emphasizing that SHE is in fact, America’s problem. Fans were shocked when Beyoncé delivered a song that turned out to be raunchy and raucous instead of a protest anthem.
Understandably, the Beyhive had assumptions about “AMERICA HAS A PROBLEM,” since Beyoncé has never distanced herself from political commentary. “Formation,” with its accompanying music video that included references to Hurricane Katrina and the Black Lives Matter protests, became one of the most acclaimed singles of 2013 due to its message of Black female solidarity and wide critical and fan acclaim. With kickass rap flows, a ruckus-inducing beat, and all the self-confidence she could muster, Beyoncé took a leap with this song, and boy, did it pay off.
14. “ENERGY”
At barely two minutes long, “ENERGY” is the shortest song on Renaissance and is the perfect track in between “CUFF IT” and “BREAK MY SOUL” while the listener recovers before another round of high-octane music. The song features Jamaican-American artist BEAM as he raps over the song’s eclectic drums.
Again, Beyoncé has had a long history of activism throughout her career, and with her song “Energy,” Queen Bey gets very political, as her opening line seemingly depicts Donald Trump losing the 2020 election. “Just vibe / Votin’ out 45, don’t get outta line, yeah,” she starts in the first verse. After that, she goes on to wax lyrical about her alleged $500 million net worth. “Only double lines we cross is dollar signs, yeah / Ooh, ooh, ooh, ooh, hol’ up / Wait, I hear you just got paid, make it rain, energy,” Beyoncé sings assuredly.
The song seems to end on a political note, however, as Bey alluded to the insurrection that occurred at the U.S. Capitol on January 6, 2021, by Trump supporters. In the first line of the record, Beyoncé mentions Trump’s loss of the election, so this line may be a way for her to reference the event. “I’m crazy, I’m swearin’ / I’m darin’, your man’s starin’ / I just entered the country with derringers / ‘Cause them Karens just turned into terrorists.” In any case, Beyoncé is prone to speaking her mind, and this is her way of doing it!
13. “THIQUE”
A track that will set fire to any club within a 10-mile radius, “THIQUE” is one of many songs on the album filled with one assertion after another. Before you even read the lyrics, the title gives away most of the meaning. This song celebrates all the single (and taken) ladies with curves.
Beyoncé highlights her curvy figure in the song, particularly her “thique” (thick) booty. She hasn’t been shy about showing off her voluptuous rear in hip-hop, dating back to Destiny’s Child’s “Bootylicious” single released in 2001. Beyoncé’s confidence is on exhibition here as she raps and sings about being better at everything. It’s a performer’s appetizer and a definite scene stealer.
“THIQUE” was produced by Hit-Boy, who is Beyoncé’s go-to collaborator for her rap-influenced songs, such as “Sorry” and “Flawless.”
12. “I’M THAT GIRL”
The opener to the already classic album, Beyoncé, reminds anyone who chooses to be forgetful that she will always be tiers above others. She quietly sings about how it’s not the diamonds, pearls, or even her man that define her power— she’s just that girl. The song’s chorus is only sung once by Beyoncé, and the track includes multiple elements and BPMs. A lack of traditional song structures is also a Renaissance theme.
In addition, Beyoncé isn’t afraid to use the F-word, mentioned a dozen times in the intro alone. It’s “Bow Down” all over again, but this time without a warning of sorts. It’s just a declaration, and at this point, there’s nothing anyone can do about it.
Beyoncé is credited with writing “I’M THAT GIRL” with The-Dream. The R&B songwriter also co-wrote Renaissance’s lead single, “Break My Soul as well as “Single Ladies (Put a Ring on It)” and “Run The World (Girls).” The-Dream also provides backing vocals on the track. A sample of “Still Pimpin” by Memphis rappers Tommy Wright III and Princess Loko from Wright’s 1994 Runnin-N-Gunnin album is used in the song.
11. “BREAK MY SOUL”
The world’s first foray into what was to come, “BREAK MY SOUL,” polarized many fans upon release. While some praised the singer’s dip into the pool of house music, others revealed they were not used to this sound. Whatever the case may be, this song was just the tip of the proverbial iceberg as Beyoncé ended up releasing an entire album filled with dance and house music. The lyrics of the track are encouraging and feature vocals from Big Freedia, whom she famously collaborated with on “Sorry” off her acclaimed Lemonade album.
In the house jam, Beyoncé refuses to let work or the pandemic break her. She quits her job, walks outside, and soaks in the positive energy. The song encourages fans to leave places and people that wreck their souls. She breaks free from her grueling employment in the first verse.
It gained popularity after users uploaded viral memes about quitting their jobs on TikTok. The synth melody of “BREAK MY SOUL” is also a sample of Robin S’s 1990 house anthem “Show Me Love.”
10. “SUMMER RENAISSANCE”
“SUMMER RENAISSANCE” is the album’s 16th and final track and the perfect end to a sparkly album filled with blissful tracks of love, freedom, pride, and joy. On the closer, she interpolates the classic dance track “I Feel Love” by the Queen of Disco herself, Donna Summer.
Although “SUMMER RENAISSANCE” will reintroduce music listeners to Summer’s artistic legacy, this isn’t the first time Beyoncé has incorporated Summer into her music. Summer’s song “Love To Love You Baby” was sampled for her hit single “Naughty Girl” on her debut album, “Dangerously In Love.” It is a befitting end to the album and is one of the most colorful songs on the project, as Beyoncé sounds unconfined over the stylish beat.
9. “CHURCH GIRL”
When the track list for the album dropped a few days earlier, “CHURCH GIRL” became one of the most anticipated songs from the project due to the information that Beyoncé had sampled the legendary gospel group The Clark Sisters. While some fans expected the track to be an ode to the singer’s Christian roots, Beyoncé turned heads with sexually aggressive lyrics, stamping the track as a twerk masterpiece.
This gospel-tinged track declares that even church girls deserve to have fun. Though Beyoncé will sit in her pew Sunday morning, the night before, she’s going to be a bad girl. When she gets to the party, she won’t hold back and will “drop like a thottie.” As she sings, “nobody can judge me but me,” the singer encourages others to be free to let loose with their friends and, most importantly, love themselves. It’s not what a lot of people expected, but it’s what the people needed to hear. Many of the songs on the album were written and recorded during the COVID-era, allowing the Texan star an avenue of escape.
8. “COZY”
A triple threat of a song, “COZY” is all about powerful feminine energy, Black excellence, and the glorious LGBTQ+ community. It’s about inner strength and being comfortable in one’s skin. This song is Beyoncé’s self-love theme. Although she has been through hard times, she has been strengthened by those experiences. She has nothing to prove to anybody and is happy with how she was created.
As Beyoncé previously did on “Flawless” in 2013, she expresses her pride in her younger sister, Solange. In addition, this song pays homage to Chicago house’s glory days. Additionally, Beyoncé intersperses excerpts from trans activist and performer TS Madison’s “Bitch I’m Black” YouTube monologue throughout the track. It’s an anthem for sure, but that’s not going to stop it from making you want to dance.
7. “MOVE”
Featuring three generations of talented musical artists, Jamaican icon Grace Jones and the Nigerian star Tems lend their voices to “MOVE,” an upbeat track about girl power. The song infuses dancehall, afrobeat, and RnB elements to create an infectious banger that will light up any dance floor. Even though it’s located right in the middle of Renaissance, do not let its position deceive you because this song is about empowering women to impact the world.
In between the drum beats, Beyoncé has no qualms about telling you to get out of her way and let her and her girls move forward. “Move, move, move, move, yeah you gotta move, move,” Beyoncé raps as she reminds men to get moving; otherwise, she and her girls will make them.
As for her message to the girls, Beyoncé reminds them not to worry about texting a guy. She reminds them just to keep moving. Considering she has always been about female empowerment, it’s unsurprising that “MOVE” has such a profound meaning.
6. “PLASTIC OFF THE SOFA”
With her vocal agility on full display, “PLASTIC OFF THE SOFA” has quickly become one of the favorites from Renaissance, with several musicians and fans attempting to recreate her riffs and runs beginning from the 3:06 mark. It’s a sultry track that references Jay-Z’s cheating. If “Lemonade” is partly a portrayal of Jay-Z’s infidelity and a commentary on the dark aspects of fame, “PLASTIC OFF THE SOFA” reveals that Beyoncé was angry with Jay-Z, but they overcame it. In the lyrics, there’s no mention of the title, but taking the plastic off the sofa means it’s ready to be used, which implies good things for Jay.
“PLASTIC OFF THE SOFA” is a sweet love song in which Beyoncé speaks of her husband’s troubled past and shares some of his charming characteristics. From the first few seconds, the song glistens as the powerhouse vocalist opts for utilizing her vocals’ soothing and softer textures in what will undoubtedly be heralded as one of Beyoncé’s best love songs ever.
5. “CUFF IT”
“CUFF IT” is an ode to the Black disco sound that swarmed through the clubs in the ‘70s and is all about having the time of your life and being unapologetic about it. With lyrics about sex, partying, and having a good time, the track borrows from many nostalgic club elements, from shimmering synth beats to trumpet hooks and syncopated rhythmic bass lines. It’s one of the lighter tracks on the album but still shines in its own illustrious way.
The music of Nile Rodgers, who contributed to some of the most influential songs in music, is apparent on this track because he wrote it. Rogers was involved in “Like a Virgin,” “We are Family,” “Let’s Dance,” and many others.
4. “HEATED”
In this Afrobeats- and dance-inspired track, Beyoncé reminds us that she’s the hottest thing since sliced bread (as if we forgot). After her man doesn’t give her enough attention, Beyoncé declares her self-worth in the tongue-in-cheek song. Beyoncé warns him that if he doesn’t wise up, all the guys will be waiting for her. She knows she’s a hot woman, but her lover has got her so “heated,” she has to cool herself down.
There’s a star-studded credit songwriters list behind this ultra-spicy track (including Drake, who originally wrote the chorus, then passed on the demo to Beyoncé), and it all works so well without sounding overwhelming at all. But what stands out most about this infectious song is Beyoncé’s precious shout-out to her late gay Uncle Johnny, to whom she dedicated the album.
3. “PURE/HONEY”
As Genius notes, the song has two parts, “Pure” and “Honey,” which is why the title “PURE/HONEY” was created. As you listen to the song, you will notice considerable changes in the lyrics and Beyoncé’s singing when the song switches between the parts. This two-part club track kicks off with Beyoncé rapping about her sexiness, as well as that of all the other pretty boys and girls on “PURE,” oozing self-confidence and pride.
With a heavy retro bass and the self-confident liner, “It should cost a million to look this good,” she flows into the funky “HONEY,” which is all about all the ways she plans to fulfill her lust and gratification. It’s raunchy, taboo, and erotic, but most of all, pure fun. The song may or may not contain several suggestive innuendos, but who cares? Certainly not us.
2. “VIRGO’S GROOVE”
At six minutes and eight seconds long, “VIRGO’S GROOVE” is the longest track on Renaissance, and yet, doesn’t seem long enough. Its length pays tribute to the disco era of the ’70s and ’80s when extended mixes were the standard. Beyoncé named the catchy siren song after her astrological sign, Virgo. This is the second time she has given the song title to her star sign in her career. She used it on the penultimate track of her debut album, Dangerously in Love, “Gift From Virgo.”
Featuring some of her most intricate runs, a call-and-response chorus, and her shameless professions of love, Beyoncé effortlessly soars over the glossy, funky beat. The song is one of her sexiest songs ever, with not-so-subtle lyrics about making mind-blowing love.
1. “ALIEN SUPERSTAR”
It’s gotta be tough to beat a song that kicks off with a warning not to leave the dance floor. For this banger, which has already become a phenomenon with fans, Beyoncé solidified herself as a queer icon, dipping her toes into the very essence of the ballroom scene. The song flourishes with its vivacious production accommodated by the Queen’s breathy and sexy vocals, which encourage listeners to be their sexiest and most unique self.
This track’s chorus features Right Said Fred’s “I’m Too Sexy,” but instead of sexy, Beyoncé sings, “I’m too classy for this world, forever, I’m that girl / Feed you diamonds and pearls, ooh, baby /For example, the lyric: “I got diamonds beneath my thighs, but ego will find bliss,” seems to reference Maya Angelou’s line in “Still I Rise,” in which she asks, “Does my sexiness upset you? / Does it come as a surprise / That I dance like I’ve got diamonds / At the meeting of my thighs?”
Moreover, “ALIEN SUPERSTAR” also incorporates a sample of a speech given by Barbara Ann Teer, the founder of Harlem’s National Black Theater. According to the liner notes, the track includes an excerpt from Teer’s speech, “Black Theater.”
At the time of the album’s release, “ALIEN SUPERSTAR” was quickly hailed by fans and other celebrities as one of the standout tracks, and rightly so.