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    Listening to Beyoncé’s ‘Renaissance’ References

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    A tour through key samples, references and influences on the pop star’s 2022 album as her world tour arrives in North America.A scene from the screens at Beyoncé’s North American Renaissance World Tour opener in Toronto.The New York TimesDear listeners,Last weekend, I traveled to Toronto to catch the first North American date of Beyoncé’s Renaissance World Tour. I returned home feeling like the human incarnation of the starry-eyed emoji (so many sparkles!) and with a new appreciation for “Renaissance,” the loose and sprawling album that Beyoncé released this time last year.“Renaissance,” Beyoncé’s seventh studio album, is a sonic odyssey through the history of dance music, with a specific focus on the genre’s Black and queer pioneers. It achieves the perfect balance of many opposing forces: “Renaissance” is studied and referential but still maintains a fun lightness. It celebrates community and a kind of artistic plurality while still centering Beyoncé’s singular star power. It contains a few of Beyoncé’s strongest stand-alone singles and yet plays like a continuous D.J. set: Sometimes I will get an urge to hear one particular song and, before I know it, I will have listened to the rest of the album in its entirety — again!Witnessing the way Beyoncé staged some of these songs live has helped me hear new elements in an album I have already played approximately four billion times. Some of that has to do with the way she contextualized the “Renaissance” songs within the evolution of her own catalog (the vampy, hard-hitting “Diva,” from 2008, sounds like a transmission from Beyoncé’s future), but she also made sure to situate “Renaissance” within a larger continuum of pop music, electronic sounds, and Black and queer culture.That’s a project I’d like to continue with today’s playlist, which is a kind of musical tour of the samples, references and influences heard on “Renaissance.” It is highly indebted to a great piece that the music journalist and electronic dance music scholar Michaelangelo Matos wrote for The Times right after the album was released, which served as a listening guide to its many sonic footnotes.Come along for the ride as Beyoncé pays homage to the Chicago house of Adonis, the postmillennial bounce of Big Freedia, the pulsating bass of Reese and much more. May this playlist help you hear “Renaissance” anew, learn a little about electronic music history or maybe just make like Beyoncé and Grace Jones and move.Listen along on Spotify as you read.1. Adonis: “No Way Back”One of the formative early classics of Chicago house — a localized subgenre of dance music that spread through the Windy City’s underground club scene in the mid-80s — Adonis’s 1986 track “No Way Back” has a menacing intensity and a grimy low-end that would prove enormously influential … (Listen on YouTube)2. Beyoncé: “Cozy”… and “Cozy,” the second song off “Renaissance,” certainly bears that influence. Production and a writing credit from the Chicago-born D.J. and musician Honey Dijon also add some house-music credibility to this hypnotic track. (Listen on YouTube)3. Chic: “Good Times”Sumptuous, timeless, transcendent — Chic’s glittering “Good Times,” from 1979, remains one of the best-known and most frequently referenced tunes in the history of dance music. Bernard Edwards’s bass line is a thing of beauty, rightly given its own extended solo. (Listen on YouTube)4. Beyoncé: “Cuff It”If you’re going to pay homage to Chic, as Beyoncé does on this groovy disco throwback, you might as well get Nile Rodgers on the track. “When I got called to play on this song, it was the most organic thing that ever happened to me,” Rodgers said, accepting a Grammy when “Cuff It” won best R&B song. (Beyoncé was fashionably late.) “I heard the song and I just said, ‘I wanna play on that. Right now.’ And it was one take, I promise.” (Listen on YouTube)5. Robin S.: “Show Me Love”Driven by the unmistakable sound of the Korg M1 Organ 2, this 1992 hit — technically a remix, by the Swedish producer StoneBridge, of a little-heard 1990 track by Robin Stone — brought house music to the mainstream in the early ’90s, and its much-sampled keyboard riff is still ubiquitous today. (Listen on YouTube)6. Big Freedia: “Explode”Beyoncé first sampled Big Freedia, a.k.a. the Queen of Bounce, on her 2016 hit “Formation.” She once again drew upon the New Orleans musician’s highly flammable energy on “Break My Soul,” which samples her 2014 single “Explode.” (Listen on YouTube)7. Beyoncé: “Break My Soul”A house homage updated with some fresh zaps of New Orleans bounce, the “Renaissance” leadoff single “Break My Soul” was a worthy introduction to the album’s kinetic, highly referential sound. (Though, as the reporter Rich Juzwiak found when speaking to StoneBridge and Robin S., exactly how directly “Break My Soul” references “Show Me Love” is up for debate.) (Listen on YouTube)8. Reese/Kevin Saunderson: “Just Want Another Chance”The term “Reese bass” refers to the dark, warbling low-end that rumbles through the foundation of “Just Want Another Chance,” a pivotal Detroit techno track released by Kevin Saunderson — under the moniker Reese — in 1988. The Reese has become so popular that there are innumerable patches and presets that now replicate Saunderson’s groundbreaking bass sound. (Listen on YouTube)9. Beyoncé: “America Has a Problem”The most bonkers staging on the Renaissance World Tour comes when Beyoncé plays this one live — donning a custom Mugler bee costume and performing from behind a desk like she’s a newscaster attempting to brainwash the world. The Reese-indebted tones give this song, and its live performance, an ominous edge. (Listen on YouTube)10. A.G. Cook: “Beautiful”In the mid-to-late 2010s, the experimental production collective PC Music pushed pop to its most frenetic, gloriously synthetic extremes, reveling in surface sheen and outré ideas. The English producer A.G. Cook was at the forefront of this wave (sometimes called hyperpop), and his zanily infectious “Beautiful,” from the 2015 compilation “PC Music Volume 1,” is emblematic of his distinct sound. (Listen on YouTube)11. Beyoncé: “All Up in Your Mind”Beyoncé goes hyperpop — sort of — on this distorted earworm co-produced by Cook himself. The instrumentation sounds like a malfunctioning computer program, but there’s a growly physicality to Beyoncé’s vocal that gives the song an intriguing textural friction and keeps things in the realm of flesh and blood. (Listen on YouTube)12. Donna Summer: “I Feel Love”Arguably the most innovative and influential dance record of all time, “I Feel Love” is Giorgio Moroder’s wholehearted embrace of electronic music’s nascent, seemingly boundless possibilities. Donna Summer plays the ghost in the machine, unfurling an ecstatic vocal and achieving a kind of cyborgian bliss. (Listen on YouTube)13. Beyoncé: “Summer Renaissance”It’s risky business, referencing the iconic “I Feel Love” as blatantly as Beyoncé does here. But over the course of four-and-a-half minutes of airy falsetto and giddy sass, she effectively makes the argument that quoting Summer is the only way to end an album like “Renaissance.” It’s the ultimate, inevitable conclusion — a fireworks-display finale to this dazzling tour through dance music past, present and future. (Listen on YouTube)Release your wiggle,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“Beyoncé’s ‘Renaissance’ References” track listTrack 1: Adonis, “No Way Back”Track 2: Beyoncé, “Cozy”Track 3: Chic, “Good Times”Track 4: Beyoncé, “Cuff It”Track 5: Robin S., “Show Me Love”Track 6: Big Freedia: “Explode”Track 7: Beyoncé, “Break My Soul”Track 8: Reese/Kevin Saunderson, “Just Want Another Chance”Track 9: Beyoncé, “America Has a Problem”Track 10: A.G. Cook, “Beautiful”Track 11: Beyoncé, “All Up in Your Mind”Track 12: Donna Summer, “I Feel Love”Track 13: Beyoncé: “Summer Renaissance”Bonus tracksSpeaking of dance floor anthems that pull knowingly from house music history: I am very much digging Troye Sivan’s new single “Rush.” I don’t know if the Song of the Summer is a thing anymore, or if it ever really was, but I nonetheless appreciate him making a run for it.“Rush” is just one of the 11 new songs we recommend in this week’s Playlist. Check out the full selection, featuring tracks by Billie Eilish, Jamila Woods and Jlin, here. More

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      Inside New York’s Throwback Roller-Skating Extravaganza

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      Music is the key to a summertime experience for pros and amateurs called the DiscOasis in Central Park. Its curator: the funk-disco guru and lifelong skater Nile Rodgers.To some people, a roller rink is just a place to skim around in a circle, not even very fast, going nowhere. But to its devotees and to the creators of the DiscOasis, a new skate experience in Central Park, it is transformational, spiritual — time travel on four wheels.On Saturday night, more than a thousand skaters packed Wollman Rink, laced up their quads and spun off into sparkling nostalgia. Spotlights shone onto the surrounding trees, as a concert-level light show bathed the space in cyan, fuschias and golds. “Good Times,” that 1970s party staple, blared from D.J. Funkmaster Flex’s booth, as the crowd — some wobblies, some more expert — parted for the pros: One roller dancer in flared jeans dropped to a split, while another flipped off her wheels, uncoiling into a headstand. For 10 minutes, it was all hot pants and acrobatics, and then regular New Yorkers — many with a style not far-off — slid back in.Hovering over this opening night like a sequined demigod was Nile Rodgers, the Chic guitarist, funk-disco eminence and lifelong skater. He curated music for the DiscOasis, and, with voice-over introductions, provides its cultural through line from 1970s and ’80s New York, when he used to frequent the city’s now shuttered, once legendary rinks with Diana Ross and Cher. Kevin Bacon and Robert Downey Jr. too. (The ’80s were wild.) With some skill on wheels, “You feel like you have special human powers,” Rodgers said in a recent video interview. “You feel like you can fly.”Scenes from the opening night of the DiscOasis, which will be open through October.Thao Nguyen from Constellation Immersive (in purple sequins) and Lynná Davis of the Central Park Dance Skaters Association (in blue sunglasses) join the set designer David Korins (second from left in back row) and more DiscOasis stakeholders at its ribbon cutting.OK McCausland for The New York TimesRoller-skating is having another flash of popularity, but the DiscOasis sets itself apart from the city’s other rinks and pop-up events (Rockefeller Center is temporarily hosting wheelers, too) through its production value, theatricality and pedigree. There’s blossoming disco balls as big as eight feet in diameter, and a multitiered stage, created by the Tony-nominated set designer David Korins, who did “Hamilton” and shows for Lady Gaga. The cast of 13 includes legends of New York roller disco, like the long-limbed skater known as Cotto, a fixture in the city’s parks for more than four decades, whose signature leg twirls and pivots have influenced scores of skaters.“We call it jam skating,” he said. the DiscOasis coaxed him out of retirement — he’s had both hips replaced — for choreographed shows, five nights a week.The energy is ecstatic, and infectious. “Being on wheels is paradise to me,” said Robin Mayers Anselm, 59, who grew up going to Empire, the storied Brooklyn emporium. “I feel more connected to myself and my spirit when I skate.”That’s true even for the newbies, like Robin L. Dimension, an actress wearing an embellished jumpsuit and a chunky “Queen” necklace with her psychedelic-patterned skates. “I got a really nice outfit,” she said, “so I look good going down.”Billed as “an immersive musical and theatrical experience,” the DiscOasis began last year outside of Los Angeles.OK McCausland for The New York TimesBilled as “an immersive musical and theatrical experience,” the DiscOasis began last year outside of Los Angeles, the pandemic brainchild of an events company led by a C.A.A. agent. But its foundational home was always New York, and it will be open through October.“For us, DiscOasis is a movement, it’s a vibe — we want as many people to be able to experience it,” said Thao Nguyen, its executive producer, and chief executive of Constellation Immersive, its parent company, which partnered with Live Nation and Los Angeles Media Fund to stage the series.For New York’s skate community, it is first and foremost a good floor. “You know, we’re not impressed by the accouterments of the illusion,” said Tone Rapp Fleming, a New York native and skater for 50 years, who came for a preview on Thursday. That’s mostly because ride-or-die skaters like him and his friend Lynná Davis, vice president of the Central Park Dance Skaters Association, would skate on a trash can lid, as she put it. But they praised the rink’s glidable new surface, painted in primary shades of blue, yellow and red.The DiscOasis’ creators knew that if they won over the old-school skate crew, the world would follow; Davis, an ageless wonder in rainbow-flecked braids and custom bejeweled, be-fringed wheels, helped with casting. “Work it out, kids!” she cheered on the younger dancers, as they cartwheeled their routine, to a soundtrack that spun from Queen to “Rapper’s Delight.”For David Korins, who created the stage for the DiscOasis, the space is a Studio 54 throwback, but fresher. OK McCausland for The New York TimesRodgers created the playlists for the performances, which happen throughout the night, interspersed with live D.J.s (the daytime is for more relaxed skating). A longtime New Yorker, Rodgers coined his skate style as a 12- or 13-year-old on a brief sojourn in Los Angeles, when he tore up the town with other kids, performing little routines. “I had this wobbly leg way of skating,” he said. He still does, “even though I’m going to be 70. And it looks cool.”His crew stood out even then: “We used to skate to jazz,” he said, recalling their grooves to the guitarist Wes Montgomery’s 1965 classic “Bumpin’ on Sunset.”Fast forward 30 years, and Rodgers had largely hung up his skates. But he has been so energized by his association with the DiscOasis, which approached him for the Los Angeles event, that it reignited his devotion. Now on tour in Europe, he has been conjuring minirinks wherever he goes, one hotel ballroom at a time.“They lift up the rugs for me and create a big dance floor,” he said. “I can skate in a little square. There’s nobody in there, because I skate at such weird hours — 4 or 5 in the morning.” (He doesn’t sleep much. As befits a disco-era fashion legend, he also has personalized skates — orange, green, iridescent — which got stuck in customs on their way to Europe. His favorite are a classic pair of black Riedells.)Even for someone well-versed in skate culture, the Los Angeles version of the DiscOasis offered some lessons. Most skaters only stick to the rink for about 45 minutes, Rodgers said. The space around Wollman has a nonskate dance floor and a few Instagram-ready installations inspired by his music. The giant half-disco ball stuffed with oversize wedding bouquets, pearls and askew mannequin legs, for example, is supposed to symbolize Madonna’s “Like a Virgin,” which he produced.For Korins, the production designer, the space is a Studio 54 throwback, but fresher. “We’re leaning into this oasis idea — if you think about mirrored balls and foliage coming together to have a child, that’s what we’re making,” he said. (Think discofied palm trees and cactuses.) And the Central Park location, with the Manhattan skyline rising above it, brings its own magic. “It takes all the best things about roller-skating and disco and it literally rips the roof off,” he said.Amateurs and pros alike fill the floor at the DiscOasis.OK McCausland for The New York TimesSome attendees (including Davis), come dressed in their skating finest.OK McCausland for The New York TimesThe cast of 13 that performs at the DiscOasis includes legends of New York roller disco.OK McCausland for The New York TimesLike other skate habitués, Korins has a theory about why it remains to addictive. “It’s really hard to find an experience in life that’s both kinetic and dynamic,” he said — you can flex your solo style and also get the communion of “an organism moving around together.”Shernita Anderson, the choreographer, saw that in action. For solos, the cast was on its own. “We were like, ‘Go off, live your best life!’” she said. “And that’s what they did.”Pirouetting and high-kicking his way through the act was Keegan James Robataille, 20, a musical-theater-trained dancer who only began skating two years ago as a pandemic outlet. A swing in the company, this is his first professional, contracted gig. He grew up near a rink in Amsterdam, N.Y. “I remember going there all throughout middle school and being like, ‘Wow, I wish I could skate backwards and do these cool tricks,’” he said. “And here I am performing in New York City, doing what little me would have dreamed of doing.”A closing number — set to Donna Summer’s “Last Dance,” naturally — came on and he sailed away for his cue. It had the skaters in capes dotted with LEDs, like luminescent butterflies.“I have never seen anything like this in New York,” said Samantha O’Grady, a 24-year-old native. The rinks she started learning at all closed “by the time I was a tween,” she said, but the retro ambience of the DiscOasis gave her a flicker of how the scene looked before her time. “I sent a picture to my mother; she was so jealous.”First-time visitors were already planning to become regulars, like Robbin Ziering, whose wedding was on wheels. “We love to work, we love to dance, we love music — but we live to skate,” she said. “And that’s what it’s all about.”Kalia Richardson contributed reporting.OK McCausland for The New York Times More

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      Cardi B’s Gleefully Relentless ‘Up,’ and 12 More New Songs

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyThe PlaylistCardi B’s Gleefully Relentless ‘Up,’ and 12 More New SongsHear tracks by Bomba Estéreo, SG Lewis, Flock of Dimes and others.Cardi B barely offers listeners a chance to catch their breath on her new solo single, “Up.”Credit…YouTubeJon Pareles, Giovanni Russonello and Feb. 5, 2021, 11:48 a.m. ETEvery Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Cardi B, ‘Up’[embedded content]On “Up,” her first solo single in several years, Cardi B’s preferred method of annihilating the haters is oxygen deprivation — her flow is so relentless that for nearly three minutes she doesn’t offer listeners a single moment to catch their breath. “Big bag bussin’ out the Bentley Bentayga/Man, Balenciaga Bardi back,” she raps with rapturous alliteration, before running that tongue twister back again, in case you didn’t catch it all the first time. “Up” is a homage to the steely Chicago drill sound that Cardi grew up on, and it also finds her reuniting with DJ SwanQo, who worked with her on the hardest-hitting song on “Invasion of Privacy,” “Get Up 10.” (He co-produced “Up” with Yung Dza.) Her tone is a bit more gleeful than the drill influence would suggest, and there are of course some classically comedic Cardi punch lines here, but the ravenous way she digs into this beat is serious business. LINDSAY ZOLADZSG Lewis featuring Nile Rodgers, ‘One More’Choices, chances. SG Lewis sings about the ways an encounter at a party could go: Will it evaporate amid distractions, or will continuing the conversation for just one more song and lead to romance? Either way, it’s a dance party, and the guitar scrubbing away at complex chords over the neo-disco beat belongs to the disco and dance-pop wizard Nile Rodgers. JON PARELESSia and David Guetta, ‘Floating Through Space’How far has the pandemic lowered the bar for triumph over adversity? “You made it another day, made it alive,” Sia sings over David Guetta’s echoey, synthetic adaptations of a Caribbean soca beat. It’s computerized happiness for a worldwide predicament. PARELESMiss Grit, ‘Grow Up To’Miss Grit is the alias of Margaret Sohn, a Michigan-born New York transplant who, like St. Vincent, is equally enamored of both textured guitar distortion and crisp, clean melody. (When Sohn was a student in NYU’s music technology program, she briefly considered a career in making effects pedals.) Miss Grit’s self-produced second EP, “Impostor,” is a confident and searching meditation on that psychological scourge Impostor Syndrome and her outsider status as a Korean-American growing up in the Midwest. But the single “Grow Up To” is more of an abstraction — albeit a hypnotically catchy one. Beneath a vocal with a hazy, deadpan cool that recalls Mary Timony, Sohn retraces the melody line with her guitar, snaking and sparking like a lit fuse. ZOLADZBomba Estéreo featuring Okan and Lido Pimienta, ‘Agua’Folklore, mysticism, nature and electronics converge in “Agua,” the first single from an album due in April by the Colombian group Bomba Estéreo, joined by Toronto-based expatriates: the Colombian singer Lido Pimienta and the Afro-Cuban vocal duo Okan. Voices harmonize to chant the four ancient elements — “Agua, tierra, aire, fuego” (“water, earth, air, fire”) — over traditional-sounding drums, handclaps and bird calls; then the synthesizers appear, blipping and arpeggiating, as Pimienta and Bomba Estéreo’s Li Saumet sing and rap about being inseparable from the natural world. PARELESFlock of Dimes, ‘Two’“Can I be one? Can we be two?” Jenn Wasner asks on her stirring new single “Two.” The song — and its colorful, playfully choreographed video, directed by Lola B. Pierson and Cricket Arrison — is an exploration of the simultaneous needs for individuality and intimacy within a romantic relationship, but it also reflects the multiplicity of Wasner’s musical output. With her collaborator Andy Stack, she’s one-half of the band Wye Oak, while as a solo artist she releases music under the name Flock of Dimes. “Two” is driven by an irregular beat (Wasner recently joked on Twitter about her penchant for “odd time signatures”), as if to mirror the hesitant questioning of its lyrics. Even when she’s being somber or ruminative, Wasner has a touch of gallows humor, as when she muses memorably, “We’re all just wearing bodies like a costume til we die.” ZOLADZAlan Braufman (Angel Bat Dawid remix), ‘Sunrise’A slow, billowing, rafters-raising saxophone melody — distinctly in the spiritualist free-jazz tradition of Albert Ayler — becomes just one element in a digital swarm in this remix of a tune by the saxophonist Alan Braufman, from his 2020 quintet album, “The Fire Still Burns.” With the young multi-instrumentalist and composer Angel Bat Dawid at the controls, the track begins as a saxophone reflected upon itself, bouncing around the walls of an electronic prism; that leads into a steady, clipped, electronic beat, somewhere between deep house and ambient music. A veteran of New York’s jazz loft scene of the 1970s, Braufman only recently resuscitated his public career as a musician. “The Fire Still Burns,” featuring an intergenerational cast of side musicians, was a triumphant claim to artistic vitality, at age 69. This Dawid remix is another indication of what it means to stay engaged decades on, bringing the tradition ahead. GIOVANNI RUSSONELLOVic Mensa featuring Wyclef Jean and Chance the Rapper, ‘Shelter’“I’ll be your shelter,” Wyclef Jean promises, sometimes in a sweet falsetto and sometimes with hoarse vehemence, over mournful, syncopated guitar chords. But the track, even with hints of hope at the end, is an elegy, and raps by Vic Mensa and Chance the Rapper matter-of-factly set out how many people aren’t sheltered from disease, poverty and racism: “Hospital workers in scrubs with no PPE/But they got money for riot gear,” Mensa observes. PARELESH.E.R., ‘Fight for You’How’s this for building anticipation: H.E.R.’s new song was nominated for a Golden Globe a day before it was even released! The soulful “Fight for You,” from the soundtrack of the upcoming Black Panther drama “Judas and the Black Messiah,” strikes an appropriate balance between period-pic scene-setting and up-to-date cool, as lyrics like “all the smoke in the air, feel the hate when they stare” draw unfortunate parallels between past and present. ZOLADZJimmy Edgar featuring 24hrs, ‘Notice’The producer Jimmy Edgar has far-flung connections. He has collaborated with producers including Sophie and Hudson Mohawk and rappers like Danny Brown. The Atlanta rapper 24hrs sing-raps assorted phrases in “Notice,” but all the action is in the track: viscous bass tones stopping and starting, little whistling interjections, double-time boings and swoops and tinkles. There’s a slow, determined push forward, but at any given moment, it’s impossible to predict where it will land. PARELESArchie Shepp and Jason Moran, ‘Wise One’You can hear history coursing both ways, future sloshing up against past, as the pianist Jason Moran and the saxophonist Archie Shepp revisit John Coltrane’s “Wise One.” When Moran pulls an arpeggiated rumble into a rhythmic flow, or splashes a fistful of high notes onto the keyboard behind Shepp’s high warbling cry, it’s almost impossible to say whether the younger pianist is guiding his elder down a new path, or following his lead. Shepp became a Coltrane apostle more than half a century ago, and it was Trane who brought Shepp to Impulse! Records, helping him build a reputation as one of the leading jazz innovators of the 1960s. Moran came up decades later, idolizing them both. Shepp and Moran’s album, “Let My People Go,” is out now — only the latest in a long history of memorable piano-sax duet albums by Shepp, including ones with Mal Waldron and Horace Parlan. RUSSONELLOVampire Weekend, ‘40:42’ remade by Goose and Sam GendelEver conceptual, Vampire Weekend called on musician-fans to remake “2021,” a minute-and-a-half ditty about relationships and the passage of time (“Copper goes green, steel beams go rust”) from its 2019 album “Father of the Bride.” There were conditions: Each remake was to last exactly 20 minutes and 21 seconds, to be combined for an EP entitled (do the math) “40:42.” Both acts rose to the occasion. Goose, a methodical jam band from Connecticut, did a live jam, on video, with clear landmarks of Minimalistic stasis, playful crosscurrents and dramatic, attentive buildups. Sam Gendel, a saxophonist who has worked with Ry Cooder, Perfume Genius and Moses Sumney, came up with multiple, Choose-Your-Own-Adventure scenarios: breathy woodwind chorales, abstract modal drones, electronic meditations and loops, cozy fireside acoustic session, raucous jazz finale. Musicians delight in working with limited parameters and leaping beyond them. PARELESAdvertisementContinue reading the main story More