Most shocking lyrics on the album

Most shocking lyrics on the album

“I have diamonds under my thighs where his ego will find bliss.”

beyonce ego music video

Beyoncé in “Ego,” the 15th track on “I Am… Sasha Fierce (Deluxe).”

Beyoncé/YouTube



Song: “Alien Superstar”

The third track of “Renaissance” is when Beyoncé gets pretty randy. This line in particular seems to refer to her own 2009 single “Ego”, which uses the title as a double entender for a penis.

Interestingly, it also seems like a reference to Maya Angelou’s famous feminist poem “Still I Rise” (“Does my sexiness upset you? / Does it come as a surprise / That I dance like I’ve got diamonds / At the meeting of my thigh?”).

“Hypersonic, sexerotic / On my body, boy, you got it / Hit ’em draulic while I ride it / Made me behave properly.”

beyonce renaissance press photo

“Cuff It” is the fourth track on “Renaissance.”

Mason Poole


Song: “Cuff It”

When Beyoncé casually throws out the phrases “sex erotic” and “hella thotty” on track four, you know the album is going to be a wild ride.

“Must be the cash ’cause it ain’t your face / It must be the cash ’cause it ain’t your face.”

beyonce jay-z

Jay-Z and Beyoncé are attending a 2020 event for Roc Nation.

Kevin Mazur/Getty Images for Roc Nation


Song: “Church Girl”

As if this line wasn’t devastating enough, Beyoncé decided to repeat it twice in a row.

This could be a cheeky reference to “Family Feud,” Beyoncé’s 2017 collaboration with husband Jay-Z, in which he raps, “Ain’t no such thing as an ugly billionaire, I’m cute.”

There is also an interpolation of the 1992 track “Where They At” by DJ Jimi, who is credited as a cowriter on “Church Girl” (“It must be the fitta ’cause it ain’t your face”).

“Motorboat, baby, spin around / Slow-mo come out of my blouse.”

beyonce renaissance press photo

“Virgo’s Groove” is the ninth track on “Renaissance”.

Mason Poole


Song: “The Maiden’s Track”

The longest song on “Renaissance” is also one of the most graphic. “Virgo’s Groove” revels in specific sexual acts like “motorboating,” and celebrates the physical pleasures of intimacy (or, as Beyoncé puts it, “nudity and ecstasy”).

“Only a real one could tame me / Only the radio could play me / Oh, now you wish I was smug.”

beyonce lemonade

Beyoncé in “Don’t Hurt Yourself,” the third track on “Lemonade.”

Tide


Song: “Heated”

In a rare moment of venom, Beyoncé appears to be referencing the betrayal detailed on her previous album.

Her refusal to be tamed, played, or complacent is strongly reminiscent of both “Don’t Hurt Yourself” and “Sorry,” the third and fourth tracks from “Lemonade” — bubbly kiss-off anthems addressed to a cheating husband.

“Dimples on my hip, stretch marks on my tits / Drinking my water, minding my biz / Monday, I’m overrated, Tuesday, on my dick.”

beyonce renaissance press photo

“Heated” is the 11th track on “Renaissance”.

Mason Poole


Song: “Heated”

It’s always a thrill when Beyoncé goes into full-on flex mode, and “Heated” boasts her best countdown of tabloids and critics since the opening lines of “Formation” (“You haters fragile with the Illuminati mess / Paparazzi , catch my fly, and my cocky fresh.”)

This lyric also contains a cheeky nod to growth and motherhood, mixing stretch marks with power, much like the previous track “Cozy” (“Kiss my scars because I love what they made”).

“Get your money, your money, stingy.”

Beyonce Renaissance press photo

“Pure/Honey” is the 15th track on “Renaissance”.

Carlijn Jacobs


Song: “Pure/Honey”

Although “cunty” and “hunty” are both words often used in drag, ballroom and queer house music (“Pure/Honey” samples Kevin Aviance’s “Cunty” and Moi Renee’s “Miss Honey”), it still feels like a little electric shock the first time I heard Beyoncé use them.

“If you make my body talk, I leave you in a trance / Made you walk with a limp, bet this body makes you dance.”

beyonce portrait renaissance press photo

“Summer Renaissance” is the 16th and final track on “Renaissance”.

Mason Poole


Song: “Summer Renaissance”

Beyoncé ends the album with a disco house track that reverses gender roles from the first line: “I wanna house you and make you take my name”.

In the pre-chorus, Beyoncé vows to make her lover “walk with a limp,” subverting a common phrase that assumes a woman’s submissive role during sex.

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