Lemonade (2016) – Beyoncé

Gee, I wonder whom this album was directed towards. But in all seriousness, while there have been nasty call-outs by musicians in music, few have been as ferocious or intimidating as Beyoncé's. It’s not a breakup album (hopefully), but it sure has all the familiar characteristics of one. We all know she is a proud and powerful black woman, but here’s when that power comes into play, and oh my, is there a lot of it. It’s almost as mean as anything you’d find on any Eminem album, and it’s arguably harsher without the slightest hint of humor. The lyrics present here are so aggressive, they make B’Day’s “Ring the Alarm” seem tame in comparison. On “Don’t Hurt Yourself”, suitably sampling Led Zeppelin and tagging Jack White along for a little extra grit, the first lines she asserts are, “Who the **** do you think I is? You ain’t married to no average b***h boy!” The next lines are even more explicit than that, but I think you get the point. Even the cutest song on here, “Hold Up”, another welcome bubblegum pop tune, have lines like, “I don’t wanna lose my pride, but I’ma **** me up a b***h.” And while it may be a little too in your face for some, at least you know she means it. It’s unforgiving at times, but never truly hate-filled. Even then, holding anything back would’ve been too much of a compromise for the listener. And she’s got plenty to say before she even begins to think about letting up or slowing down.

And sonically, she’s continuing her artistic journey, and this time by incorporating unorthodox styles and genres not typically featured in her usual R&B and pop repertoire, or any pop artists for that matter. Country and upbeat jazz accompany “Daddy’s Lessons”, and the aforementioned hard rock sets the tone for “Don’t Hurt Yourself.” “Freedom” stomps into your earphones, demanding you to hear her bellow about tribulations you’ve heard all too well before, but it’s that assertiveness that will keep you listening. The ballads do have a tendency to fall short of the faster ones, but, at the very least, their sincerity makes them relatable and their beauty keeps you contemplating. And if they still don’t do anything for your ears, you at least have to admire the passionate rawness of her singing. “Forward”, a brief interlude featuring James Blake’s lovely voice, hints that whatever uncertainty the future holds, Beyoncé’s moving on with or without her significant other. All of this leads to the already released “Formation”, definitely the easiest song to like on here. Maybe it should’ve been the album opener and switched with “Pray You Catch Me”, but who am I to question the queen? And for those strictly-pop fans, she didn’t forget about y’all; plug in that aux chord for some bass-heavy jams like “6 Inch” and “Love Drought”.

I probably shouldn’t be feeling bad for whoever this unnamed man is, but it’s clear that Beyoncé has good enough reason to be angry. Sounds like this man has a lot more than 99 problems, don’t you think? Overall, this album is her as a pop artist making actual art rather than your usual pop quickies, something that she’s outgrown and is simply too good for. In turn, she’s stretching the boundaries limited by her popstar persona. It’s not her best album, but it’s a strong one, and in the right direction. B’Day and 4 were exceptional for a pop artist, but her 2013 self-titled effort is where she took full command of her writing team and production skills and made the definitive pop album of our time. This is a continuation of her newfound abilities to craft great albums, something Rihanna’s just now catching on to. Although the album’s hooks pale in comparison to Beyoncé’s, its strengths lie within the strong, emotional lyrics. It’s easily her most personal album to date, and although I don’t enjoy it as much as its predecessor, it’s no doubt another highlight of her career, and perhaps the year. Whatever personal affairs are troubling Beyoncé and Jay Z, at least she took a sour situation and made something bittersweet from it. Even in her darkest times, she’s still able to find the strength to make albums this good and at the age of 34 (a somewhat older age for a pop star), there’s no sign of her slowing down. It’s hard to imagine a more powerful statement to be made this year. Now that’s pretty impressive if you ask me. And now we watch the year-long debate unfold between Rihanna’s fans and Beyoncé’s fans, up in arms over whose works were superior. A-

(Key Tracks: Formation, Freedom, Hold Up)