“Wait has anyone ever seen Jay-Z and Beyoncé’s younger kids they’re r*******,” he wrote (via The Independent). “No like literally and this is why artificial insemination is such a blessing having r******* children is a choice.”
He took down the post before re-sharing and making another seven posts about the couple in less than 30 minutes, including a tweet that said “Fuck those k*** ass n***** and their entire families” and another which said: “Concerning the Jay Z and Beyoncé tweet n***** said I would regret it… I regret taking it down… my Twitter is a one way conversation.”
Addressing why he removed the initial post, he shared a tweet that read: “I need everyone to know that I took the post about Jay Z and Beyoncé’s family down […] because there was a possibility of my Twitter being cancelled, not because I’m a good person.”
Beyoncé’s mother has since taken to her Instagram page and appeared to initially lighten the mood by sharing one of her “corny joke” posts.
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In the video she said: “What happens when a snowman throws a tantrum? He has a meltdown.”
But in the caption, Knowles appeared to hit back at West, writing: “Corny joke, time! it’s hard to remain positive and classy in the face of ignorance and evil. But I know that no weapon formed against me or my family shall prosper. This battle is not mine, but the Lords, I know that God has got this.”
The caption has since been changed and most of her comments removed from the post on her Instagram page.
Neither Beyoncé nor Jay-Z have publicly responded to the comments made by West on X. West is also yet to publicly respond to Knowles’ post.
Tickets for the US dates go on sale tomorrow (March 21) at 10 am local time here. Tickets for the sole UK date also go on sale at 2pm GMT, and you can find yours here.
Post Malone has shared a heartwarming message for Beyoncé following the latter’s Christmas-day Halftime Show last week – see his message below.
On Christmas day (December 25), Beyoncé headlined the NFL’s Christmas-day Halftime Show in Houston, Texas, where she performed songs from ‘Cowboy Carter’ live for the first time. During the performance, she surprised the audience by bringing out Post Malone to perform their collaboration ‘Levii’s Jeans’.
Yesterday (December 29), Post Malone took to X (formerly Twitter) to give thanks to Beyoncé for inviting him to perform at the Halftime Show. He wrote: “thank you @Beyonce so much for havin me out in Houston, and on your beautiful record. also, thank you for sharin your talent and art with the world. I love you”
See the post below.
thank you @Beyonce so much for havin me out in Houston, and on your beautiful record. also, thank you for sharin your talent and art with the world. I love you 🍻🩵
During the set, which ran for under 13 minutes, Queen Bey was joined by the likes of Shaboozey, Reyna Roberts, Tanner Adell, Brittney Spencer and Tiera Kennedy. Her eldest daughter Blue Ivy Carter also joined along to dance to ‘Texas Hold ‘Em’.
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To kick off the Halftime performance – which fans are calling “the best Super Bowl performance of all time and it wasn’t even the Super Bowl” – Beyoncé performed ’16 Carriages’. Other songs she performed included ‘Blackbird’, ‘YA YA’, ‘My House’, ‘Jolene’ and more. She was joined by Shaboozey for ‘Sweet Honey Buckiin”.
Olivia Colman has compared her musical number in Paddington In Peru to a performance by Beyoncé.
The film is the third in the series of films revolving around the marmalade-loving bear created by Michael Bond, and sees Ben Whishaw returning as the voice of Paddington, alongside Hugh Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent and Antonio Banderas.
The film sees Paddington and his adopted Brown family visit the bear’s aunt Lucy in Peru, where they have to search the Amazon rainforest and Andean mountains to find her.
Colman stars as the Reverend Mother who prepares the Home For Retired Bears for the visit of Paddington and the family, and she features in a one-off musical sequence that is inspired by The Sound Of Music.
AdvertisementOlivia Colman in ‘Paddington In Peru’. CREDIT: StudioCanal
Speaking to Digital Spy, the Oscar-winning actor has reflected on the difficulty in filming the sequence. “It turns out people who can sing and play the instrument and move, it’s really hard,” she said. “I had to do one song, but it just makes suddenly you think of going to see anyone performing on stage, like Beyoncé with dance routines and singing.”
“I had a very long skirt and thankfully Jen White, the choreographer, said, ‘Well, luckily the skirt hides your feet,’ because I was going, ‘I literally can’t do everything all at the same time’, and so I was pretending [up here] and pretending [down here] and it’s really hard.”
“It’s been a joy and an honour to shoot Paddington in Peru with such a wonderful and talented cast and crew,” Wilson has said. “I feel incredibly lucky to have been blessed with such a lovely group of people, many of whom have returned to the world of this beloved bear. We are also delighted to have welcomed Emily, Olivia, Antonio and Carla to the Paddington family,” referring to newcomer Carla Tous, who replaced West Side Story’s Rachel Zegler in the cast.
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The first Paddington film arrived in 2014, described by NME at the time as “managing to sign off with an unexpectedly touching message: in a big city filled with lots of different types of people, anyone, however much of an outsider, can find a way to fit in.”
Paddington 2, released in 2017, received a four-star review, with NME saying, “The result is another heartwarming and completely charming film with jokes that will tickle kids and adults alike. Bring on Paddington 3.”
Now, she has taken to Instagram to celebrate the release of the new record, which dropped today, and share her “honour” in contributing to the LP.
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Sharing a clip of herself singing along to the track, which you can listen to below, RAYE wrote: “happy COWBOY CARTER day. What an honour it is to being able to contribute my small piece to this beautiful album, and to THE @beyonce who continues to inspire all of us. Track 23 : RIIVERDANCE , co – written by me found my beat up cowboy hat i bought on my 21st birthday for this special occasion.”
Beyoncé has revealed the track listing for her upcoming new album ‘Act II: Cowboy Carter’, just two days ahead of its release.
‘Cowboy Carter’ is set to be released on Friday (March 29), the pop icon’s eighth studio album, and the second instalment of a believed trilogy project that began with 2022’s ‘Renaissance’.
See all the titles revealed by Beyoncé in an Instagram post below:
Also listed are songs named ‘Dolly P’ and ‘Smoke Hour Willie Nelson’, apparent tributes to greats of the country genre, as well as ‘The Linda Martell Show’, a reference to one of the first successful Black country artists.
The artwork sees the singer in a white cowboy hat with long platinum blonde locks while wearing a red, white and blue leather outfit holding an American flag and wearing a “Country Carter” sash while sitting upon a white horse.
The singer also addressed some of the backlash she has received for foraying into the country music sphere. Writing on Instagram, she said: “This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”
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“It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history.”
She continued: “The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work.”
“I focused on this album as a continuation of RENAISSANCE…I hope this music is an experience, creating another journey where you can close your eyes, start from the beginning and never stop. This ain’t a Country album.” she concluded. “This is a “Beyoncé” album. This is act ii COWBOY CARTER, and I am proud to share it with y’all!”
The album is available for pre-save/pre-order here. Limited edition coloured vinyl pressings in red, white, blue and black are available as well as two limited-edition CDs with alternative cover photos featuring half of her face on display.
A producer who worked on Beyoncé‘s hit ’16 Carriages’ has revealed that the song from her forthcoming country album ‘Cowboy Carter’ was made before ‘Renaissance’, despite the latter being released first.
Atia ‘Ink’ Boggs said in a new interview that ’16 Carriages’ was the first song she had worked on with Beyoncé, but it saw the light of day much later than the three songs she worked on from ‘Renaissance’.
“So a lot of people don’t know, we actually had this first,” she explained on the Acknowledged YouTube series. “So imagine having this timeless, classic music first and having to wait, and then she came up with ‘Act I’.”
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Boggs said that she first started working with Beyoncé in 2020 and the ongoing COVID-19 pandemic influenced the direction of the music they worked on and how it was eventually released.
“So we came out of being isolated, back into the world from no parties to finally expressing ourselves,” she continued. On the subject of her pivot to country, Boggs said: “And it’s like, baby, we don’t do just one thing we do everything and we do it well. That’s what she’s letting you know. This is her southern roots, this is her Texas roots.”
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The producer reiterated that the change in direction demonstrates that Beyoncé can’t be put in a box. “Representation matters, that sound matters. This sound is Black music, this is what we started,” she said. “’16 Carriages,’ that was one of my favorite songs I’ve ever made and produced in all of my life. Because it’s so personal. I love to see her in that personal light.”
When it was announced in 2022, ‘Renaissance’ was billed as the first of a trilogy, to which ‘Cowboy Carter’ is the second part. Fans have theorised that the third act will be a rock album after the artist was photographed with a mullet for CR Fashion Book.
However, Boggs wouldn’t be drawn on confirming or denying rumours. “See, y’all skipping… Shit, we got to get to Act II first.”
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This week, the Guggenheim museum have shared that they “did not authorize” Beyoncé‘s ‘Cowboy Carter’ advert projection on the museum.
On Wednesday night (March 20), a promotional advert for the pop icon’s upcoming country album was projected onto the museum in New York City. “This ain’t a country album. This is a ‘Beyoncé’ album,” as well as the LP’s title and release date of March 29 (pre-save/pre-order here) were projected onto the building. The phrase was a reference to her Instagram post which she posted earlier where she addressed the backlash she received over exploring the country genre.
In a statement shared with The Hollywood Reporter, Guggenheim explained that the institution “was not informed about and did not authorize this activation. However, we invite the public — including Beyoncé and her devoted fans — to visit the museum May 16–20 when we present projections by artist Jenny Holzer on the facade of our iconic building to celebrate the opening of her major exhibition.”
The pop icon shared the name of her upcoming eighth studio LP ‘Cowboy Carter’ via her official website on March 12. The site’s landing page featured a photo of a horse saddle with a red, white and blue sash that read “Country Carter.” Many believed that the photo of the saddle was the official album artwork.
Today (March 19), Beyoncé took to her official Instagram account to share the actual artwork for the LP. The photo sees the singer in a white cowboy hat with long platinum blonde locks while wearing a red, white and blue leather outfit holding an American flag and wearing a “Country Carter” sash while sitting upon a white horse.
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The artwork was shared in celebration of the ten day countdown until the album’s release on March 29.
“This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history,” wrote Beyoncé in the post’s caption.
She continued: “The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work.”
The singer also revealed that there are “a few surprises on the album” and shared that she hopes that fans will be able to hear the “heart, soul, love and passion” she poured into the album.
“I focused on this album as a continuation of RENAISSANCE…I hope this music is an experience, creating another journey where you can close your eyes, start from the beginning and never stop. This ain’t a Country album.” she concluded. “This is a “Beyoncé” album. This is act ii COWBOY CARTER, and I am proud to share it with y’all!”
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The album is available for pre-save/pre-order here. Limited edition coloured vinyl pressings in red, white, blue and black are available as well as two limited-edition CDs with alternative cover photos featuring half of her face on display. The LP serves as the second instalment of what is expected to be a trilogy of ‘Renaissance’ albums.
While talking about Beyoncé’s pivot to country music in an interview with Knox News, Parton was asked about rumours that Beyoncé will include a cover of ‘Jolene’ on her new album. “Well, I think she has,” Parton said to Knox News. “I think she’s recorded ‘Jolene’ and I think it’s probably gonna be on her country album, which I’m very excited about that.” Parton added: “I love her! She’s a beautiful girl and a great singer.”
Rowland spoke to hip-hop commentator Big Tigger on the Atlanta radio station V-103 to promote the Tyler Perry-produced Netflix film Mea Culpa, in which she has a lead role. Tigger asked Rowland if the recent rumours about ‘Act II’ being “either rock-based or a [Destiny’s Child] reunion,” to which the 43-year-old replied “that is her business to talk about, not mind” before winking.
Beyoncé has commemorated the 10th anniversary of her self-titled album by releasing the bonus track, ‘Grown Woman’, to streaming platforms.
The track was released to streaming platforms yesterday (December 13), which marked ten years after the release of Beyoncé’s groundbreaking album. Conceived as a visual album, ‘Beyoncé’ was surprise-released on December 13, 2013 with an accompanying music video for each of its 14 tracks. However, ‘Grown Woman’ also attached to the album as a “bonus video”, despite not being included on its official tracklist.
The video, directed by Jake Nava, was eventually uploaded to YouTube in November 2014 to mark the one-year anniversary of ‘Beyoncé’. It featured archival footage of the popstar performing and rehearsing in her childhood home, with her mouth edited to sing the lyrics of the song.
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Watch the video for ‘Grown Woman’ below and stream it on Apple Music:
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‘Grown Woman’ had its first large-scale public preview in a 2013 Pepsi commercial which was released months after Beyoncé performed at the Super Bowl Halftime Show that year. The one-minute advertisement was a retrospective look into her career, depicting her outfits from her Destiny’s Child years to her current appearance.
Accompanying the track’s release on streaming platforms is a new video the singer released on her Instagram page. The montage compiles cuts from the music videos of ‘Beyoncé’ and behind-the-scenes footage from the era, against a new voiceover. “I still get scared before every album release,” she admitted. “I’m constantly searching for the deeper purpose with my art. Thoughts about life, my dreams or my fantasies.”
Later in the clip, she alludes to the album’s notably unconventional release, where the album was released exclusively to iTunes in the early hours of December 13, 2013 without prior announcement or promotion. She narrates: “I don’t want anybody to give the message of when my album is coming out. I just want this to come out when it’s ready, and from me to my fans.”
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At its conclusion, she says: “This album is the anti-perfection. Happy 10th anniversary.” Watch the video here.
Upon its release, NME awarded ‘Beyoncé’ four stars. In a glowing review, Al Horner praised Beyoncé’s artistic maturity, writing: “Instead the low-key, moody production throws the spotlight on the words and the images brought to play by Beyonce as serious album artist, encompassing bulimia, post-natal depression, the fears and insecurities of marriage and motherhood, and lots and lots of sex.”
Beyoncé most recently released Renaissance: A Film By Beyoncé, a movie which documented her record-breaking ‘Renaissance’ tour. Taylor Swift attended its London premiere in late November, mirroring how Beyoncé attended the premiere of Swift’s ‘Eras’ tour concert film in October.
In Swift’s interview with TIME magazine after being named their Person of the Year, she commented on comparisons made between their tours, stating: “Clearly it’s very lucrative for the media and stan culture to pit two women against each other, even when those two artists in question refuse to participate in that discussion.”
The upcoming concert film, which will be released in cinemas worldwide on December 1, chronicles the creation of Beyoncé’s record-setting global world tour with behind the scenes footage, while also immersing fans in her live performances.
The official synopsis for the film reads: “RENAISSANCE: A FILM BY BEYONCÉ accentuates the journey of RENAISSANCE WORLD TOUR – a record-setting worldwide concert tour that spanned 56 shows, 39 cities, and 12 countries –from its inception to the opening show in Stockholm, Sweden, to the grand finale in Kansas City, Missouri.
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“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft.”
How to get tickets for Beyonce’s RENAISSANCE concert film
Beyoncé performs onstage during the “RENAISSANCE WORLD TOUR” at GEHA Field at Arrowhead Stadium on October 01, 2023 in Kansas City, Missouri. (Photo by Kevin Mazur/WireImage for Parkwood)
Tickets are now offiically on sale for the concert film, meaning you can book from any of the UK cinema chains that will be showing it come December 1. This includes Showcase Cinemas, Vue, Cineworld, Odeon, Everyman, and Picturehouse.
Is there a trailer for Beyonce’s RENAISSANCE concert film?
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An official trailer was released last week, offering a glimpse into the tour’s behind-the-scenes footage as well as its front-row concert video. You can watch it above.
“When I am performing, I am nothing but free,” the singer says in the trailer. “The goal for this tour was to create a place where everyone is free, and no one is judged. Start over, start fresh, create the new — that’s what the Renaissance is about.”
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The official description of the film adds: “Received with extraordinary acclaim by International and US media alike, Beyoncé’s outstanding performance during RENAISSANCE WORLD TOUR created a sanctuary for freedom, acceptance, and shared joy.
“Its maximalist production welcomed more than 2.7 million fans from around the world, who travelled across oceans to enjoy Club RENAISSANCE. Now, millions of moviegoers will get caught up in the Joy Parade, the monumental dance party that celebrates everyone’s right to be themselves, close to home.”
Beyonce is reportedly in the final stages of talks to bring her ‘Renaissance’ world tour to cinema screens later this year.
Varietyreports that the artist is in discussion to distribute the film directly to AMC Theatres, according to sources with knowledge of the project.
Preliminary talks with major studios and streamers were reportedly held two weeks ago, another source added, relating to a project that has supposedly been in development for years.
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The film would feature footage from the ‘Renaissance’ shows and a documentary-style account of making the record and building out the tour.
Insiders also told Variety that the release date has been penciled in for December 1.
Beyoncé. Credit: Kevin Mazur/WireImage
Variety approached AMC Theatres and a spokesperson for Beyonce for comment, but the former didn’t respond and the latter could not be reached.
Directed by Sam Wrench, the upcoming film is described as a “breathtaking, cinematic view” of Swift’s latest tour, which runs through her biggest hits and rarities across all ten of her studio albums.
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Swift is reportedly set to take half of box office receipts, and according to one of the insiders who spoke to Variety, Beyonce will receive the same arrangement.
Swift’s film is expected to make over $100million in its opening weekend and its expected popularity also caused the producer of the forthcoming film The Exorcist: Believer to move its release date so as to avoid it clashing with the ‘Eras’ tour motion picture.
Jay-Z is now tied with Beyoncé for the most nominations in Grammy history, having clocked up 88 nods in total each.
READ MORE: Grammys nominations 2023: Beyoncé, Kendrick Lamar, Adele and Harry Styles score the most nods
Both acts picked up a significant amount of nods yesterday (November 15) for the 2023 Grammys with the former picking up five nominations and the latter picking up nine nods including Record Of The Year and Album Of The Year for ‘Renaissance’.
As a result, both are now tied on 88 nominations since their careers began.
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They are closely followed by Paul McCartney, who has 81 nominations overall and Quincy Jones who has 80.
Beyoncé, Kendrick Lamare, Adele and Harry Styles lead the way in the 2023 Grammy nominations CREDIT: Getty
As well as Beyoncé, Kendrick Lamar scored eight Grammy nominations, Adele picked up seven while Future, Harry Styles, Mary J. Blige and DJ Khaled each scored six nods.
Notably, the 2023 Grammy Awards will be the first time Beyoncé and Adele will go head-to-head for Record, Album and Song Of The Year since 2017, when Adele swept all three categories.
Meanwhile, both Wet Leg and Måneskin were both nominated in the Best New Artist category. You can view the full list of nominations here.
The winners are set to be announced at the 65th Grammy Awards ceremony on February 5, 2023.
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Elsewhere, Denzel Curry has criticised the 2023 Grammy nominations, taking particular aim at the Recording Academy’s list of Best Rap Album nominees.
Taylor Swift meanwhile, said she could “scream for 10 minutes straight” following her Grammy nomination for Song Of The Year for the 10 minute re-recorded version of ‘All Too Well’.
The nominations for the 2023 Grammys have been announced with Beyoncé, Kendrick Lamar, Adele and Harry Styles leading the way.
READ MORE: Ukraine, Billie Eilish, Louis CK: the biggest talking points from the Grammy Awards 2022
The official Grammys YouTube hosted a livestream today (November 15) for the announcement which you can watch below, with the winners set to be announced at the 65th Grammy Awards ceremony on February 5, 2023.
Beyoncé clocked up the most nominations with nine nods including Record Of The Year and Album Of The Year, closely followed by Lamar with eight nominations.
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Adele picked up seven nominations while Future, Harry Styles, Mary J. Blige and DJ Khaled each scored six nods. Jay-Z, who picked up five nominations, is now tied with Beyoncé for the most nominated artists in Grammy history, having clocked up 88 nods in total.
Notably, the 2023 Grammy Awards will be the first time Beyoncé and Adele will go head-to-head for Record, Album, and Song Of The Year since 2017, when Adele swept all three categories.
Meanwhile, both Wet Leg and Måneskin were both nominated in the Best New Artist category.
See the full list of Grammys 2023 nominations below:
Record Of The Year
ABBA – ‘Don’t Shut Me Down’
Adele – ‘Easy On Me’
Beyoncé – ‘Break My Soul’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Mary J. Blige – ‘Good Morning Gorgeous’
Steve Lacy – ‘Bad Habit’
Album Of The Year
ABBA – ‘Voyage’
Adele – ’30’
Bad Bunny – ‘Un Verano Sin Ti’
Beyoncé – ‘Renaissance’
Brandi Carlile – ‘In These Silent Days’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Lizzo – ‘Special’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’
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Song Of The Year
Adele – ‘Easy On Me
Beyoncé – ‘Break My Soul
Bonnie Raitt – ‘Just Like That
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Gayle – ‘ABCDEFU’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’
Taylor Swift – ‘All Too Well’
Best New Artist
Anitta
Domi & JD Beck
Latto
Måneskin
Molly Tuttle
Muni Long
Omar Apollo
Samara Joy
Tobe Nwigwe
Wet Leg
Best Pop Solo Performance
Adele – ‘Easy On Me’
Bad Bunny – ‘Moscow Mule’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Lizzo – ‘About Damn Time’
Steve Lacy – ‘Bad Habit’
Best Pop Duo/Group Performance
ABBA – ‘Don’t Shut Me Down’
Camila Cabello Featuring Ed Sheeran – ‘Bam Bam’
Coldplay & BTS – ‘My Universe’
Post Malone & Doja Cat – ‘I Like You (A Happier Song)’
Sam Smith & Kim Petras – ‘Unholy’
Best Traditional Pop Vocal Album
Diana Ross – ‘Thank You’
Kelly Clarkson – ‘When Christmas Comes Around…’
Michael Bublé – ‘Higher’
Norah Jones – ‘I Dream Of Christmas’
Pentatonix – ‘Evergreen’
Best Pop Vocal Album
ABBA – ‘Voyage’
Adele – ’30’
Coldplay – ‘Music Of The Spheres’
Harry Styles – ‘Harry’s House’
Lizzo – ‘Special’
Best Dance/Electronic Recording
Beyoncé – ‘Break My Soul’
Bonobo – ‘Rosewood’
David Guetta & Bebe Rexha – ‘I’m Good (Blue)’
Diplo & Miguel – ‘Don’t Forget My Love’
Kaytranada Featuring H.E.R. – ‘Intimidated’
Rüfüs Du Sol – ‘On My Knees’
Best Dance/Electronic Music Album
Beyoncé – ‘Renaissance’
Bonobo – ‘Fragments’
Diplo – ‘Diplo’
Odesza – ‘The Last Goodbye’
Rüfüs Du Sol – ‘Surrender’
Best Contemporary Instrumental Album
Brad Mehldau – ‘Jacob’s Ladder’
Domi & JD Beck – ‘Not Tight’
Grant Geissman – ‘Blooz’
Jeff Coffin – ‘Between Dreaming And Joy’
Snarky Puppy – ‘Empire Central’
Best Rock Performance
Beck – ‘Old Man’
The Black Keys – ‘Wild Child’
Brandi Carlile – ‘Broken Horses’
Bryan Adams – ‘So Happy It Hurts’
Idles – ‘Crawl!’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Turnstile – ‘Holiday’
Best Metal Performance
Ghost – ‘Call Me Little Sunshine’
Megadeth – ‘We’ll Be Back’
Muse – ‘Kill Or Be Killed’
Ozzy Osbourne Featuring Tony Iommi – ‘Degradation Rules’
Turnstile – ‘Blackout’
Best Rock Song
Brandi Carlile – ‘Broken Horses’
Ozzy Osbourne Featuring Jeff Beck – ‘Patient Number 9’
Red Hot Chili Peppers – ‘Black Summer’
Turnstile – ‘Blackout’
The War On Drugs – ‘Harmonia’s Dream’
Best Rock Album
The Black Keys – ‘Dropout Boogie’
Elvis Costello & The Imposters – ‘The Boy Named If’
Idles – ‘Crawler’
Machine Gun Kelly – ‘Mainstream Sellout’
Ozzy Osbourne – ‘Patient Number 9’
Spoon – ‘Lucifer On The Sofa’
Best Alternative Music Performance
Arctic Monkeys – ‘There’d Better Be A Mirrorball’
Big Thief – ‘Certainty’
Florence And The Machine – ‘King’
Wet Leg – ‘Chaise Longue’
Yeah Yeah Yeahs Featuring Perfume Genius – ‘Spitting Off The Edge Of The World’
Best Alternative Music Album
Arcade Fire – ‘WE’
Big Thief – ‘Dragon New Warm Mountain I Believe In You’
Björk – ‘Fossora’
Wet Leg – ‘Wet Leg’
Yeah Yeah Yeahs – ‘Cool It Down’
Best R&B Performance
Beyoncé – ‘Virgo’s Groove’
Jazmine Sullivan – ‘Hurt Me So Good’
Lucky Daye – ‘Over’
Mary J. Blige Featuring Anderson .Paak – ‘Here With Me’
Muni Long – ‘Hrs & Hrs’
Best Traditional R&B Performance
Adam Blackstone Featuring Jazmine Sullivan – ’Round Midnight’
Babyface Featuring Ella Mai – ‘Keeps on Fallin’’
Beyoncé – ‘Plastic Off The Sofa’
Mary J. Blige – ‘Good Morning Gorgeous’
Snoh Aalegra – ‘Do 4 Love’
Best R&B Song
Beyoncé – ‘Cuff It’
Jazmine Sullivan – ‘Hurt Me So Good’
Mary J. Blige – ‘Good Morning Gorgeous’
Muni Long – ‘Hrs & Hrs’
PJ Morton – ‘Please Don’t Walk Away’
Best Progressive R&B Album
Cory Henry – ‘Operation Funk’
Moonchild – ‘Starfuit’
Steve Lacy – ‘Gemini Rights’
Tank And The Bangas – ‘Red Balloon’
Terrace Martin – ‘Drones’
Best R&B Album
Chris Brown – ‘Breezy (Deluxe)’
Lucky Daye – ‘Candy Drip’
Mary J. Blige – ‘Good Morning Gorgeous (Deluxe)’
PJ Morton – ‘Watch The Sun’
Robert Glasper – ‘Black Radio III’
Best Rap Performance
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Doja Cat – ‘Vegas’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Hitkidd & Glorilla – ‘F.N.F. (Let’s Go)’
Kendrick Lamar – ‘The Heart Part 5’
Best Melodic Rap Performance
DJ Khaled Featuring Future & SZA – ‘Beautiful’
Future Featuring Drake & Tems – ‘Wait For U’
Jack Harlow – ‘First Class’
Kendrick Lamar Featuring Blxst & Amanda Reifer – ‘Die Hard’
Latto – ‘Big Energy (Live)’
Best Rap Song
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy – ‘God Did’
Future Featuring Drake & Tems – ‘Wait For U’
Gunna & Future Featuring Young Thug – ‘Pushin P’
Jack Harlow Featuring Drake – ‘Churchill Downs’
Kendrick Lamar – ‘The Heart Part 5’
Best Rap Album
DJ Khaled – ‘God Did’
Future – ‘I Never Liked You’
Jack Harlow – ‘Come Home The Kids Miss You’
Kendrick Lamar – ‘Mr. Morale & The Big Steppers’
Pusha T – ‘It’s Almost Dry’
Best Country Solo Performance
Kelsea Ballerini – ‘Heartfirst’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘In His Arms’
Willie Nelson – ‘Live Forever’
Zach Bryan – ‘Something In The Orange’
Best Country Duo/Group Performance
Brothers Osborne – ‘Midnight Rider’s Prayer’
Carly Pearce & Ashley McBryde – ‘Never Wanted To Be That Girl’
Ingrid Andress & Sam Hunt – ‘Wishful Drinking’
Luke Combs & Miranda Lambert – ‘Outrunnin’ Your Memory’
Reba McEntire & Dolly Parton – ‘Does He Love You (Revisited)’
Robert Plant & Alison Krauss – ‘Going Where The Lonely Go’
Best Country Song
Cody Johnson – ‘’Til You Can’t’
Luke Combs – ‘Doin’ This’
Maren Morris – ‘Circles Around This Town’
Miranda Lambert – ‘If I Was a Cowboy’
Taylor Swift – ‘I Bet You Think About Me (Taylor’s Version) (From the Vault)’
Willie Nelson – ‘I’ll Love You Till the Day I Die’
Best Country Album
Ashley McBryde – ‘Ashley McBryde Presents: Lindeville’
Luke Combs – ‘Growin’ Up’
Maren Morris – ‘Humble Quest’
Miranda Lambert – ‘Palomino’
Willie Nelson – ‘A Beautiful Time’
Best New Age, Ambient, Or Chant Album
Cheryl B. Engelhardt – ‘The Passenger’
Madi Das, Dave Stringer & Bhakti Without Borders – ‘Mantra Americana’
Mystic Mirror – ‘White Sun’
Paul Avgerinos – ‘Joy’
Will Ackerman – ‘Positano Songs’
Best Improvised Jazz Solo
Ambrose Akinmusire – ‘Rounds (Live)’
Gerald Albright – ‘Keep Holding On’
John Beasley – ‘Cherokee/Koko’
Marcus Baylor – ‘Call Of The Drum’
Melissa Aldana – ‘Falling’
Wayne Shorter & Leo Genovese – ‘Endangered Species’
Best Jazz Vocal Album
The Baylor Project – ‘The Evening: Live At Apparatus’
Carmen Lundy – ‘Fade To Black’
Cécile McLorin Salvant – ‘Ghost Song’
The Manhattan Transfer & The WDR Funkhausorchester – ‘Fifty’
Samara Joy – ‘Linger Awhile’
Best Jazz Instrumental Album
Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade – ‘LongGone’
Peter Erskine Trio – ‘Live In Italy’
Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens – ‘New Standards, Vol. 1′
Wayne Shorter, Terri Lyne Carrington, Leo Genovese & Esperanza Spalding – L’ive At The Detroit Jazz Festival’
Yellowjackets – ‘Parallel Motion’
Best Large Jazz Ensemble Album
John Beasley, Magnus Lindgren & SWR Big Band – ‘Bird Lives’
Remy Le Boeuf’s Assembly Of Shadows – ‘Architecture Of Storms’
Ron Carter & The Jazzaar Festival Big Band Directed by Christian Jacob – ‘Remembering Bob Freedman’
Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted by Michael Abene – ‘Center Stage’
Steven Feifke, Bijon Watson & Generation Gap Jazz Orchestra – ‘Generation Gap Jazz Orchestra’
Best Latin Jazz Album
Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective – ‘Fandango At The Wall in New York’
Arturo Sandoval – ‘Rhythm & Soul’
Danilo Pérez Featuring The Global Messengers – ‘Crisálida’
Flora Purim – ‘If You Will’
Miguel Zenón – ‘Música de las Américas’
Best Gospel Performance/Song
Doe – ‘When I Pray’
Erica Campbell – ‘Positive
Maverick City Music & Kirk Franklin – ‘Kingdom’
PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls – ‘The Better Benediction’
Tye Tribbett – ‘Get Up’
Best Contemporary Christian Music Performance/Song
Chris Tomlin – ‘Holy Forever’
Crowder & Dante Bowe Featuring Maverick City Music – ‘God Really Loves Us (Radio Version)’
Doe – ‘So Good’
For King & Country & Hillary Scott – ‘For God Is With Us’
Maverick City Music & Kirk Franklin – ‘Fear Is Not My Future’
Phil Wickham – ‘Hymn Of Heaven (Radio Version)’
Best Gospel Album
Doe – ‘Clarity’
Maranda Curtis – ‘Die To Live’
Maverick City Music & Kirk Franklin – ‘Kingdom Book One (Deluxe)’
Ricky Dillard – ‘Breakthrough: The Exodus (Live)’
Tye Tribbett – ‘All Things New’
Best Contemporary Christian Music Album
Anne Wilson – ‘My Jesus’
Chris Tomlin – ‘Always’
Elevation Worship – ‘Lion’
Maverick City Music – ‘Breathe’
TobyMac – ‘Life After Death’
Best Roots Gospel Album
Gaither Vocal Band – ‘Let’s Just Praise The Lord’
Karen Peck & New River – ‘2:22’
Keith & Kristyn Getty – ‘Confessio – Irish American Roots’
Tennessee State University – ‘The Urban Hymnal’
Willie Nelson – ‘The Willie Nelson Family’
Best Latin Pop Album
Camilo – ‘De Adentro Pa Afuera’
Christina Aguilera – ‘Aguilera’
Fonseca – ‘Viajante’
Rubén Blades & Boca Livre – ‘Pasieros’
Sebastián Yatra – ‘Dharma +’
Best Música Urbana Album
Bad Bunny – ‘Un Verano Sin Ti’
Daddy Yankee – ‘Legendaddy’
Farruko – ‘La 167’
Maluma – ‘The Love & Sex Tape’
Rauw Alejandro – ‘Trap Cake, Vol. 2’
Best Latin Rock or Alternative Album
Cimafunk – ‘El Alimento’
Fito Paez – ‘Los Años Salvajes’
Gaby Moreno – ‘Alegoría’
Jorge Drexler – ‘Tinta y Tiempo’
Mon Laferte – ‘1940 Carmen’
Rosalía – ‘Motomami’
Best Regional Mexican Music Album (Including Tejano)
Chiquis – ‘Abeja Reina’
Christian Nodal – ‘EP #1 Forajido’
Marco Antonio Solís – ‘Qué Ganas de Verte (Deluxe)’
Natalia Lafourcade – ‘Un Canto por México – El Musical’
Los Tigres del Norte – ‘La Reunión (Deluxe)’
Best Tropical Latin Album
Carlos Vives – ‘Cumbiana II’
Marc Anthony – ‘Pa’lla Voy’
La Santa Cecilia – ‘Quiero Verte Feliz’
Spanish Harlem Orchestra – ‘Imágenes Latinas’
Tito Nieves – ‘Legendario’
Best American Roots Performance
Aaron Neville & The Dirty Dozen Brass Band – ‘Stompin’ Ground’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bill Anderson Featuring Dolly Parton – ‘Someday It’ll All Make Sense (Bluegrass Version)’
Fantastic Negrito – ‘Oh Betty’
Madison Cunningham – ‘Life According To Raechel’
Best Americana Performance
Asleep At the Wheel Featuring Lyle Lovett – ‘There You Go Again’
Blind Boys Of Alabama Featuring Black Violin – ‘The Message’
Bonnie Raitt – ‘Made Up Mind’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Eric Alexandrakis – ‘Silver Moon [A Tribute to Michael Nesmith]’
Best American Roots Song
Anaïs Mitchell – ‘Bright Star’
Aoife O’Donovan & Allison Russell – ‘Prodigal Daughter’
Bonnie Raitt – ‘Just Like That’
Brandi Carlile Featuring Lucius – ‘You And Me On The Rock’
Robert Plant & Alison Krauss – ‘High And Lonesome’
Sheryl Crow – ‘Forever’
Best Americana Album
Bonnie Raitt – ‘Just Like That…’
Brandi Carlile – ‘In These Silent Days’
Dr. John – ‘Things Happen That Way’
Keb’ Mo’ – ‘Good To Be…’
Robert Plant & Alison Krauss – ‘Raise The Roof’
Best Bluegrass Album
The Del McCoury Band – ‘Almost Proud’
The Infamous Stringdusters – ‘Toward The Fray’
Molly Tuttle & Golden Highway – ‘Crooked Tree’
Peter Rowan – ‘Calling You From My Mountain’
Yonder Mountain String Band – ‘Get Yourself Outside’
Best Traditional Blues Album
Buddy Guy – ‘The Blues Don’t Lie’
Charlie Musselwhite – ‘Mississippi Son’
Gov’t Mule – ‘Heavy Load Blues’
John Mayall – ‘The Sun Is Shining Down’
Taj Mahal & Ry Cooder – ‘Get On Board’
Best Contemporary Blues Album
Ben Harper – ‘Bloodline Maintenance’
Edgar Winter – ‘Brother Johnny’
Eric Gales – ‘Crown’
North Mississippi Allstars – ‘Set Sail’
Shemekia Copeland – ‘Done Come Too Far’
Best Folk Album
Aoife O’Donovan – ‘Age Of Apathy’
Janis Ian – ‘The Light At The End Of The Line’
Judy Collins – ‘Spellbound’
Madison Cunningham – ‘Revealer’
Punch Brothers – ‘Hell On Church Street’
Best Regional Roots Music Album
Halau Hula Keali’i o Nalani – ‘Halau Hula Keali’i o Nalani (Live At The Getty Center)’
Natalie Ai Kamauu – ‘Natalie Noelani’
Nathan & The Zydeco Cha-Chas – ‘Lucky Man’
Ranky Tanky – ‘Live At The 2022 New Orleans Jazz & Heritage Festival’
Sean Ardoin & Kreole Rock And Soul Featuring The Golden Band From Tigerland – ‘Full Circle’
Best Reggae Album
Kabaka Pyramid – ‘The Kalling’
Koffee – ‘Gifted’
Protoje – ‘Third Time’s The Charm’
Sean Paul – ‘Scorcha’
Shaggy – ‘Com Fly Wid Mi’
Best Global Music Performance
Arooj Aftab & Anoushka Shankar – ‘Udhero Na’
Burna Boy – ‘Last Last’
Matt B & Eddy Kenzo – ‘Gimme Love’
Rocky Dawuni Featuring Blvk H3ro – ‘Neva Bow Down’
Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode – ‘Bayethe’
Best Global Music Album
Angélique Kidjo & Ibrahim Maalouf – ‘Queen Of Sheba’
Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago – ‘Between Us… (Live)’
Berklee Indian Ensemble – ‘Shuruaat’
Burna Boy – ‘Love, Damini’
Masa Takumi – ‘Sakura’
Best Children’s Music Album
Alphabet Rockers – ‘The Movement’
Divinity Roxx – ‘Ready Set Go!’
Justin Roberts – ‘Space Cadet’
Lucky Diaz And The Family Jam Band – ‘Los Fabulosos’
Wendy And DB – ‘Into The Little Blue House’
Best Audio Book, Narration, And Storytelling Recording
Jamie Foxx – Act Like You Got Some Sense
Lin-Manuel Miranda – Aristotle And Dante Dive Into The Waters Of The World
Mel Brooks – All About Me!: My Remarkable Life In Show Business
Questlove – Music Is History
Viola Davis – Finding Me
Best Spoken Word Poetry Album
Amanda Gorman – Call Us What We Carry: Poems
Amir Sulaiman – You Will Be Someone’s Ancestor. Act Accordingly.
Ethelbert Miller – Black Men Are Precious
J. Ivy – The Poet Who Sat by the Door
Malcolm-Jamal Warner – Hiding In Plain View
Best Comedy Album
Dave Chappelle – ‘The Closer’
Jim Gaffigan – ‘Comedy Monster’
Louis C.K. – ‘Sorry’
Patton Oswalt – ‘We All Scream’
Randy Rainbow – ‘A Little Brains, A Little Talent’
Best Musical Theatre Album
Original Broadway Cast – ‘A Strange Loop’
New Broadway Cast – ‘Caroline, Or Change’
‘Into the Woods’ 2022 Broadway Cast – ‘Into the Woods (2022 Broadway Cast Recording)’
Original Broadway Cast – ‘MJ The Musical’
‘Mr. Saturday Night’ Original Cast – ‘Mr. Saturday Night’
Original Broadway Cast – ‘Six: Live On Opening Night’
Best Compilation Soundtrack For Visual Media
Various Artists – Elvis
Various Artists – Encanto
Various Artists – Stranger Things: Soundtrack From The Netflix Series, Season 4
Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer – Top Gun: Maverick
Various Artists – West Side Story
Best Score Soundtrack For Visual Media (Includes Film and Television)
Germaine Franco – Encanto
Hans Zimmer – No Time To Die
Jonny Greenwood – The Power Of The Dog
Michael Giacchino – The Batman
Nicholas Britell – Succession: Season 3
Best Score Soundtrack For Video Games And Other Interactive Media
Austin Wintory – Aliens: Fireteam Elite
Bear McCreary – Call Of Duty: Vanguard
Christopher Tin – Old World
Richard Jacques – Marvel’s Guardians Of The Galaxy
Stephanie Economou – Assassin’s Creed Valhalla: Dawn Of Ragnarök
Best Song Written For Visual Media
Beyoncé – ‘Be Alive
Carolina Gaitán – La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto – Cast – ‘We Don’t Talk About Bruno’
Jessy Wilson Featuring Angélique Kidjo – ‘Keep Rising (The Woman King)’
Lady Gaga – ‘Hold My Hand’
Taylor Swift – ‘Carolina’
4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo & Grayson Villanueva – ‘Nobody Like U’
Best Arrangement, Instrumental or A Cappella
Armand Hutton Featuring Terrell Hunt & Just 6 – ‘As Days Go By (An Arrangement of the Family Matters Theme Song)’
Danny Elfman – ‘Main Titles’
Kings Return – ‘How Deep Is Your Love’
Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer -‘Scrapple From The Apple’
Remy Le Boeuf – ‘Minnesota, WI’
Best Arrangement, Instruments and Vocals
Becca Stevens & Attacca Quartet – ‘2 + 2 = 5 (Arr. Nathan Schram)’
Cécile McLorin Salvant – ‘Optimistic Voices / No Love Dying’
Christine McVie – ‘Songbird (Orchestral Version)’
Jacob Collier Featuring Lizzy McAlpine & John Mayer – ‘Never Gonna Be Alone’
Louis Cole – ‘Let It Happen’
Best Recording Package
Fann – ‘Telos’
Soporus – ‘Divers’
Spiritualized – ‘Everything Was Beautiful’
Tamsui-Kavalan Chinese Orchestra – ‘Beginningless Beginning’
Underoath – ‘Voyeurist’
Best Boxed or Special Limited Edition Package
Black Pumas – ‘Black Pumas (Collector’s Edition Box Set)’
Danny Elfman – ‘Big Mess’
The Grateful Dead – ‘In And Out Of The Garden: Madison Square Garden ’81, ’82, ’83’
They Might Be Giants – ‘Book’
Various Artists – ‘Artists Inspired By Music: Interscope Reimagined’
Best Album Notes
Andy Irvine & Paul Brady – ‘Andy Irvine / Paul Brady’
Astor Piazzolla – ‘The American Clavé Recordings’
Doc Watson – ‘Life’s Work: A Retrospective’
Harry Partch – ‘Harry Partch, 1942’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’
Best Historical Album
Blondie – ‘Against the Odds: 1974 – 1982’
Doc Watson – ‘Life’s Work: A Retrospective’
Freestyle Fellowship – ‘To Whom It May Concern…’
Glenn Gould – ‘The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions’
Wilco – ‘Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition)’
Songwriter of the Year, Non-Classical
Amy Allen
Laura Veltz
Nija Charles
The-Dream
Tobias Jesso Jr.
Best Engineered Album, Non-Classical
Baynk – ‘Adolescence’
Father John Misty – ‘Chloë And The Next 20th Century’
Harry Styles – ‘Harry’s House’
Robert Glasper – ‘Black Radio III’
Wet Leg – ‘Wet Leg’
Producer of the Year, Non-Classical
Boi-1da
Dahi
Dan Auerbach
Dernst “D’Mile” Emile II
Jack Antonoff
Best Remixed Recording
Beyoncé – ‘Break My Soul (Terry Hunter Remix)’
Ellie Goulding – ‘Easy Lover (Four Tet Remix)’
The Knocks & Dragonette – ‘Slow Song (Paul Woolford Remix)’
Lizzo – ‘About Damn Time (Purple Disco Machine Remix)’
Wet Leg – ‘Too Late Now (Soulwax Remix)’
Best Immersive Audio Album
Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene – Tuvayhun – ‘Beatitudes For A Wounded World’
The Chainsmokers – ‘Memories…Do Not Open’
Christina Aguilera – ‘Aguilera’
Jane Ira Bloom – ‘Picturing the Invisible: Focus 1’
Stewart Copeland & Ricky Kej – ‘Divine Tides’
Best Orchestral Performance
Berlin Philharmonic & John Williams – ‘John Williams: The Berlin Concert’
Los Angeles Philharmonic & Gustavo Dudamel – ‘Dvořák: Symphonies Nos. 7-9’
New York Youth Symphony – ‘Works by Florence Price, Jessie Montgomery, Valerie Coleman’
Various Artists – Sila: ‘The Breath Of The World’
Wild Up & Christopher Rountree – ‘Stay On It’
Best Opera Recording
Boston Modern Orchestra Project & Odyssey Opera Chorus – ‘Anthony Davis: X: The Life And Times Of Malcolm X’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Blanchard: Fire Shut Up In My Bones’
The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus – ‘Eurydice’
Best Music Video
Adele – ‘Easy On Me’
BTS – ‘Yet To Come’
Doja Cat – ‘Woman’
Harry Styles – ‘As It Was’
Kendrick Lamar – ‘The Heart Part 5’
Taylor Swift – ‘All Too Well: The Short Film’
Best Music Film
Adele – Adele One Night Only
Billie Eilish – Billie Eilish Live At The O2
Justin Bieber – Our World
Neil Young & Crazy Horse – A Band A Brotherhood A Barn
Rosalía – Motomami (Rosalía TikTok Live Performance)
Various Artists – Jazz Fest: A New Orleans Story
Beyoncé’s team has responded to allegations made by a fashion designer and artist who has claimed he has unpaid fees for working on ‘Renaissance‘ material.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Earlier this week Nusi Quero took to his Instagram to claim that he has outstanding payments for his work, which includes the ‘Renaissance’ cover art. Specifically, he accused Beyoncé’s stylist Marni Senofonte of failing to pay him for various projects.
“As a stylist for B, I really expected the best from you and your team,” Quero wrote in a since-deleted post seen by Complex. “But since you won’t responded to texts and emails. I supposed this is the final venue I can utilise before legal means to settle your outstanding balances, that you’ve owed me and my collaborator for about 3 months.”
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He continued to allege that Senofonte had “paid a 50 percent deposit to me for one of the three jobs” but that did not include the work he did for the album cover.
Quero also claimed he and his team didn’t receive those payments for more than a month. He alleged that the projects in question included the “album cover piece” a second variation of the cover ensemble, styling services for an unnamed music video, and “a red custom 3D printed top I miraculously procured last miniature for a video shoot”.
Beyoncé. Credit: Press/Supplied
Now, Beyoncé’s team has denied the “troubling” allegations and insisted that Quero had been compensated.
“It is deeply troubling that designer Nusi Quero has posted damaging statements about Marni Senofonte regarding non-payments for work completed. In fact, he was paid for his work, and there is proof of all payments made,” Beyoncé representative said in a statement to ET Online.
“We have been in communication with his team and there were three payments made to him. The first payment was made on May 9, 2022. The second payment, a fifty percent down payment on the agreed cost, was made via wire on July 8, 2022. The third and final payment was returned when he changed his account number. It was returned as an invalid account number based on an error on his part.
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They continued: “After persistent and exhausting communication to get the correct information on his account and two unsuccessful wire transfer attempts, a physical check was mailed to him for final payment on September 29, 2022.”
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A post shared by Nusi Quero (@nusi_quero)
On Friday (October 14) Quero posted a photo of a cheque that he claimed was “partial payment of unpaid invoices” for services he provided in June and July. The dollar amount written on the cheque, which was seemingly issued on Friday, was $18,425.
“Your harassment of me is disgusting, unwarranted, and doesn’t phase me,” Quero wrote in the caption. “You don’t even know what you’re mad at. My art is worth the money I ask for it. You’re acting like a press release from a billion dollar company with a PR firm and legal team on a gossip rag like Page Six is the truth. Get fucking real.”
He continued: “They didn’t even reach out to me for comment like it says they did. You’re trying to tear my name down for what? There are real enemies you should be firing at. I literally am just trying to make beautiful things. I can’t do that without the money I’m owed for it.”
It’s the second time in recent weeks that Beyoncé has been the subject of criticism over use of her work. Last week, Beyoncé responded to Right Said Fred‘s claims over copyright usage on ‘Renaissance’, calling them “erroneous” and “false”.
The duo had called the pop star “arrogant” for using part of their song ‘I’m Too Sexy’ in her ‘Renaissance’ track ‘Alien Superstar’.
Speaking to The Sun at the 2022 Broadcast Music Inc Awards in London, Fred and Richard Fairbrass said that Beyoncé used elements of their song without seeking permission first.
Right Said Fred, Beyoncé. CREDIT: Getty
“Normally the artist approaches us,” they said, “but Beyoncé didn’t because she is such an arrogant person she just had probably thought ‘come and get me’ so we heard about it after the fact when you did. But everyone else, Drake and Taylor Swift, they came to us.”
In a response shared with Pitchfork Beyoncé refuted these claims, saying: “The comments made by Right Said Fred stating that Beyonce used ‘I’m Too Sexy’ in ‘Alien Superstar’ without permission are erroneous and incredibly disparaging.
“Permission was not only granted for its use, but they publicly spoke of their gratitude for being on the album. For their song, there was no sound recording use, only the composition was utilised.”
Beyoncé has responded to Right Said Fred‘s claims over copyright usage on ‘Renaissance’, calling them “erroneous” and “false”.
This week, the duo called Beyoncé “arrogant” for using part of their song ‘I’m Too Sexy’ in her ‘Renaissance’ track ‘Alien Superstar’.
Speaking to The Sun at the 2022 Broadcast Music Inc Awards in London, Fred and Richard Fairbrass said that Beyoncé used elements of their song without seeking permission first.
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“Normally the artist approaches us,” they said, “but Beyoncé didn’t because she is such an arrogant person she just had probably thought ‘come and get me’ so we heard about it after the fact when you did. But everyone else, Drake and Taylor Swift, they came to us.”
In a response shared with Pitchfork, Beyoncé refuted these claims, saying: “The comments made by Right Said Fred stating that Beyonce used ‘I’m Too Sexy’ in ‘Alien Superstar’ without permission are erroneous and incredibly disparaging.
“Permission was not only granted for its use, but they publicly spoke of their gratitude for being on the album. For their song, there was no sound recording use, only the composition was utilised.”
The statement added: “Permission was asked of their publisher on May 11, 2022 and the publisher approved the use on June 15, 2022. They were paid for the usage in August, 2022.
“Furthermore, the copyright percentage of the Right Said Fred writers with respect to the use of ‘I’m Too Sexy’ is a substantial portion of the composition.
“Collectively the Right Said Fred writers own more than any other singular writer and have co-writer credit.”
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It concluded: “This accusation is false.”
The new Right Said Fred controversy is not the first time an artist has criticised Beyoncé over her use of samples and interpolations on her new album. After the release of ‘Renaissance’, Kelis took to social media to claim that Beyoncé used elements of ‘Milkshake’ without her express permission.
The song was later updated on streaming platforms to remove the interpolation. This was the second major change that was made to ‘Renaissance’ – on August 1, it was confirmed that an ableist slur would be removed from the song ‘Heated’.
Since the release of ‘Renaissance’, Beyoncé has shared a four-track EP of ‘Break My Soul’ remixes, as well as a standalone remix helmed by herself and Madonna.
Right Said Fred have reportedly called Beyoncé “arrogant” for using part of their song ‘I’m Too Sexy’ in her ‘Renaissance‘ track ‘Alien Superstar’.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Speaking to the Sun at the 2022 Broadcast Music Inc Awards in London, Fred and Richard Fairbrass said that Beyoncé used elements of their song without seeking permission first.
“Normally the artist approaches us,” they said, “but Beyoncé didn’t because she is such an arrogant person she just had probably thought ‘come and get me’ so we heard about it after the fact when you did. But everyone else, Drake and Taylor Swift, they came to us.”
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They continued: “To use our melody they need our permission so they send us the demo and we approve it and if so we get a co-write credit. With this Beyoncé thing there are 22 writers it’s ridiculous so we would get about 40p.
“The reason that is happening we think is because there is so little money now in the actual sales people like friends, golfing partners, engineers, bookers and the guy who brings the coke, they all want a cut.”
The pair added that they believed there was nothing they could do: “You are going to get into a conversation with someone who has a lot more presence and power and money than we do. And that won’t go well. It’s best to let it go. If you’re not careful you spend your life looking back. We keep looking forward the whole time.”
We’re delighted Beyoncé is using our melody, a simple ‘please’ or ‘may I’ would have been nice.
— Right Said Fred (@TheFreds) October 5, 2022
In a statement (via the Guardian), Beyoncé’s representatives described Right Said Fred’s claims as “erroneous and incredibly disparaging”.
“Permission was not only granted for its use, but they publicly spoke of their gratitude for being on the album,” they noted. “For their song, there was no sound recording use, only the composition was utilised … this accusation is fake.”
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After the release of ‘Renaissance’, Kelis took to social media to claim that Beyoncé used elements of ‘Milkshake’ without her express permission.
The song was later updated on streaming platforms to remove the interpolation. This was the second major change that was made to ‘Renaissance’ – on August 1, it was confirmed that an ableist slur would be removed from the song ‘Heated’.
In a four-star review of ‘Renaissance’ – which officially arrived on July 29 – NME’s Kyann-Sian Williams said Beyoncé’s latest album “continue[s] leading the charge to bring Black culture back to the forefront of house and dance scenes”. Among other fans of the album were Lil Nas X, who declared that ‘Renaissance’ is “kinda changing my life somehow”.
Since the release of ‘Renaissance’, Beyoncé has shared a four-track EP of ‘Break My Soul’ remixes, as well as a standalone remix helmed by herself and Madonna.
Will.i.am has claimed he was the inspiration behind Beyoncé’s ‘Break My Soul’ remix EP.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Earlier this year, Beyoncé released a four-track EP featuring remixes of the ‘Renaissance’ track from the likes of Honey Dijon, Terry Hunter and Nita Aviance.
According to will.i.am though, the whole thing would never have happened without him. Speaking to Metro, he said: “I was in France and her song (‘Break My Soul’) came out and I’m like, ‘I wish the beat did this.’ So I called my collab partner and we did it remotely on FYI, a collaboration tool.”
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The Black-Eyed Peas singer then claimed “they weren’t thinking about remixes until I sent it.”
“They put out a remix EP and my song’s first one on it – and I inspired it,” he continued. “I can’t find the word for it – it’s like Santa Claus is real, man!”
Following the release of ‘Break My Soul’, Dijon took to Instagram to thank Beyoncé for sharing “Chicago house music roots” and applauded ‘Renaissance’’s broader showcase of “black queer and trans culture. I am honored, humbled, delirious with joy, and proud,” Dijon wrote.
Beyoncé also teamed up with Madonna for ‘The Queens’ remix of ‘Break My Soul’ which interpolates Madonna’s 1990 classic ‘Vogue’ and pays tribute to legendary Black female artists including Aretha Franklin and Diana Ross, as well as iconic ballroom houses including the House of Aviance and the House of Xtravaganza.
“Thank you, Queen,” Beyoncé wrote in a thank you letter to Madonna following the release of the remix. “I’m so grateful for you. You have opened so many doors for so many women. You are masterpiece genius.”
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“Thank you for allowing me to sing in your song and thank you for naming the remix,” the note continued. “Love always and forever, B.”
Last week, Cardi B shared a thank you note sent to her from Beyoncé that read: “Hard working, beautiful and talented queen. Thank you for always supporting me. Sending so much love to you and yours.”
Cardi B has posted a video showing off her signed copy of Beyoncé‘s ‘Renaissance‘ on vinyl, complete with a personal thank you note penned by the pop star.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
In the clip the rapper appears to be delighted with the LP and warns viewers that no one can touch her special gift.
“Look what Beyoncé sent me. Read it, bitch!” Cardi says with a laugh while holding up the vinyl. “It was so beautiful, so lovely. I’m gonna put it in a glass frame with some laser beams on it. Anyone who gets motherfucking next to it is gonna get electrocuted on motherfucking site.”
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She then says: “I just wanna say ‘thank you so much.’ I feel so special,” before singing along to Beyoncé’s ‘Renaissance’ song ‘Plastic Off The Sofa’.
Thank you Beyoncé❤️….sooo sweet and it means a lot ? pic.twitter.com/YbVEQ6Z9Rc
— Cardi B (@iamcardib) September 19, 2022
The note from Beyoncé read: “Hard working, beautiful and talented queen. Thank you for always supporting me. Sending so much love to you and yours.”
Cardi was also included in Beyoncé’s first ever TikTok posts earlier this year. The rapper’s rendition of ‘Renaissance’ lead single ‘Break My Soul’ (affectionately – and explicitly – turned into “Break My Hole”) was included in a montage of people dancing and singing along to Bey’s seventh solo album.
Beyonce Hurd me singing you won’t break my hole and now I’m embarrassed
— Cardi B (@iamcardib) July 15, 2022
Meanwhile, Cardi B recently pleaded guilty to two charges stemming from her involvement in a pair of physical altercations at a New York strip club four years ago.
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Cardi – real name Belcalis Marlenis Almánzar – was first charged with misdemeanour assault and reckless endangerment in 2018 after two female bartenders at the Angels club in Queens alleged the rapper had orchestrated and participated in assaults that took place at the club. Cardi, it was claimed, had ordered her associates to attack the women with bottles and chairs.
Last Thursday (September 15), the rapper pleaded guilty to both charges as part of a deal, avoiding a criminal trial and potential jail time.
Instead, Cardi has been sentenced to 15 days of community service and has agreed to abide by three-year protection orders for the two victims.
Hit-Boy has revealed Beyoncé‘s ‘RENAISSANCE‘ single ‘Thique’ was originally put together back in 2014.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
The guest-heavy 16 track album was released last month and featured the likes of AG Cook, Skrillex, Giorgio Moroder, Grace Jones, Tems and Jay-Z.
Now, Hit-Boy has told a Rolling Stone podcast, how Beyoncé stashed away their collaboration for eight years.
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“I had to sit on that beat for eight years!” he said. “That’s the way the game goes sometimes. I’ve had a lot of ups and downs in the game and certain people will perceive like, ‘Oh, where’s Hit-Boy been? What’s Hit-Boy been doing?’
“But then I’m sitting on stuff like ‘Thique’ that just hasn’t materialised yet. Y’all don’t even know how ahead I really am… I’ve been holding onto legendary stuff, and there’s plenty more.”
Over the years, the pair have worked on seven singles including ‘Flawless’, ‘XO’ and ‘Bow Down/I Been On’.
“I was basically trying to make a [Jay-Z and Kanye West‘s] ‘N***** In Paris’, female version,” he said of the latter.
“With that bounce, with that synth. Obviously, you look at the lyrics, she’s talking crazy, talking rapper shit. So just to bring that energy out and go to her stadium shows and see the reaction is like, wow. The energy I was trying to convey really went over.”
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Beyoncé recently earned her fourth UK Number One album with ‘RENAISSANCE‘.
Reviewing the record, NME awarded it four stars and said the “superstar’s first studio album in six years is indebted to house music and New Orleans bounce, keenly reclaiming gentrified genres”.
The album caused controversy after Kelis criticised Beyoncé claiming that she was sampled on the record without granting permission. Then she faced a backlash for using an ableist slur on the track ‘Heated’.
This led to Beyoncé removing the offensive lyric and removing Kelis’ sample of her 2003 hit ‘Milkshake’.
Beyoncé has shared a second preview for the visual element to her latest album, ‘Renaissance’, dropping a teaser for its opening track, ‘I’m That Girl’.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Much like last week’s “cliquebait” video for ‘Break My Soul’, the new clip features shots of Bey in highly stylised and visually compelling outfits, surrounded by fittingly lavish set pieces. This one offers a little more content, though – while the ‘Break My Soul’ clip ran for less than 40 seconds before cutting to a black screen, the visual part of the clip for ‘I’m That Girl’ runs for just under two minutes.
Around 35 seconds in, we see a quick montage of Bey in 21 aesthetically disparate settings. On social media, fans have interpreted this to be a tease for the various designs that will feature in the full visual component for ‘Renaissance’.
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A release window for that is yet to be confirmed – as are specific details for what it will encompass – however a press release from Bey’s production company, Parkwood Entertainment, says it’s been scheduled “for a later date”.
Have a look at the teaser for ‘I’m My Girl’ below:
Earlier this week, Beyoncé became the fourth woman in history to have 10 songs top the Billboard Hot R&B/Hip-Hop chart. She achieved the milestone with ‘Break My Soul’, the only pre-release single to come from ‘Renaissance’, after the album’s arrival bumped up both streams and traditional sales of the track by more than 100 per cent.
Earlier this week, ‘Renaissance’ debuted at Number One on the US’ Billboard 200 albums chart. All seven of Bey’s studio albums have peaked in the top spot, however her latest is notably significant in that it’s already become her highest-charting record in every major market. In addition to the US, it debuted at Number One in the UK, France, Ireland, the Netherlands, Canada, Australia and New Zealand.
In a four-star review of ‘Renaissance’, NME’s Kyann-Sian Williams said Bey’s latest album “continue[s] leading the charge to bring Black culture back to the forefront of house and dance scenes”. Among other fans of the album were Lil Nas X, who declared that ‘Renaissance’ is “kinda changing my life somehow”.
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Days after the album was released, Bey shared a four-track EP of ‘Break My Soul’ remixes, followed by a standalone remix helmed by herself and Madonna.
She’s also made two updates to ‘Renaissance’ since its release. The first was the removal of an ableist slur that appeared on the song ‘Heated’. Following that, she updated the track ‘Energy’ to take out an interpolation of Kelis‘ 2003 song ‘Milkshake’, after Kelis claimed elements of the song were used without her permission or proper credit.
Yesterday (August 12), Bey joined Ronald Isley of the Isley Brothers for ‘Make Me Say It Again, Girl’, a re-working of the latter duo’s 1975 song ‘Make Me Say It Again Girl, Pts. 1 & 2′.
Less than two weeks after releasing new album ‘Renaissance’ – and sharing several remixes for lead single ‘Break My Soul’ – Beyoncé will join Roland Isley of the Isley Brothers on a new song.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
The track, which is set to arrive this Friday (August 12), is a re-work of ‘Make Me Say It Again Girl, Pts. 1 & 2′, lifted from the Isley Brothers’ 1975 album ‘The Heat Is On’. A teaser shared by Isley features him and Beyoncé each singing a line from the song.
The collaboration was first teased in June of last year by Ronald Isley’s wife, Kandy Isley. In an interview with Variety, she said Beyoncés contribution would be recorded by early July 2021. It comes after a new, Snoop Dogg-assisted Isley Brothers song titled ‘Friends & Family’ arrived last year.
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Listen to a snippet of the ‘Make Me Say It Again Girl’ re-work with Beyoncé below:
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A post shared by Ronald Isley (@ronaldisley)
‘Renaissance’, Beyoncé’s seventh studio album, arrived late last month. The first of a planned trilogy, the album debuted at Number One on the US Billboard 200 Charts – her seventh solo album in a row to achieve the milestone – along with the UK, Canada, France, Ireland, Australia and multiple other countries.
In a four-star review of ‘Renaissance’, NME said Beyoncé’s latest album “proves that she’s still able to push herself and delve into new sonics, styles and ethos”, and sees her “continue leading the charge to bring Black culture back to the forefront of house and dance scenes”.
Beyoncé has since released five remixes of ‘Break My Soul’, the lead single from ‘Renaissance’. Among them were re-works by the likes of Honey Dijon and will.i.am, as well as a version dubbed ‘The Queens Remix’ that interpolates the piano melody from Madonna‘s 1990 song ‘Vogue’, with the latter’s blessing.
Earlier this week, in a thank-you note Beyoncé sent to Madonna that the recipient shared on her Instagram story, Beyoncé wrote: “I’m so grateful for you. You have opened so many doors for so many women. You are masterpiece genius.”
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Beyoncé has also made two updates to ‘Renaissance’ since its release. The first was the removal of an ableist slur that appeared on the song ‘Heated’. Following that, she also updated the track ‘Energy’ to take out an interpolation of Kelis‘ 2003 song ‘Milkshake’, after Kelis claimed elements of the song were used without her permission or proper credit, labelling its use “theft”.
Beyoncé has thanked Madonna for allowing her to interpolate ‘Vogue’ in her ‘The Queens Remix‘ of ‘Break My Soul‘.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
The pop star sent a note and a bouquet of flowers to Madonna, which the latter shared to her Instagram Story earlier today (August 9). “Thank you, Queen,” Beyoncé wrote in the thank you letter, “I’m so grateful for you. You have opened so many doors for so many women. You are masterpiece genius.”
The note continued: “Thank you for allowing me to sing in your song and thank you for naming the remix!!!! Love always and forever, B.”
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Last week, Beyoncé shared the latest reworking of ‘Break My Soul’, the lead single from her seventh studio album ‘Renaissance‘.
‘Break My Soul (The Queens Remix)’ interpolates Madonna’s 1990 classic ‘Vogue’ and pays tribute to legendary Black female artists including Aretha Franklin and Diana Ross, as well as iconic ballroom houses including the House of Aviance and the House of Xtravaganza.
Beyoncé. Credit: Kevin Mazur/Getty Image
It marked the fifth official remix for ‘Break My Soul’, riding hot on the heels of a four-track remix EP that Bey dropped last Thursday (August 4), less than a week on from ‘Renaissance’ (released on Friday, July 29).
That release features new spins on the song, which initially arrived as the first preview of ‘Renaissance’ in June, by Honey Dijon, will.i.am, Terry Hunter and Nita Aviance.
Meanwhile, to celebrate the release of Beyoncé’s new album, a news anchor in Philadelphia snuck 15 of the R&B titan’s song titles into a live-broadcast traffic report.
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‘Renaissance’ has also become Bey’s highest-charting album in every major market.
To celebrate the recent release of Beyoncé’s seventh album, ‘Renaissance’, a news anchor in Philadelphia snuck 15 of the R&B titan’s song titles into a live-broadcast traffic report.
READ MORE: Now Beyoncé’s pruned ‘Renaissance’ post-release, here are the albums I’d like to be updated too
“Traffic is getting ‘Heated’ and it’s starting to ‘Break My Soul’ just a little bit,” NBC 10’s Sheila Watko said in her presentation last Tuesday (August 2), referencing two songs from ‘Renaissance’. She noted later in the broadcast – which earned the approval of Bey’s own mother, Tina Knowles – that she’d planned to do to a reference-laden report on the album’s release date (July 29), but couldn’t do so since there was a crash that day and she “had to be serious”.
To the groans – and one emphatic “ooh!” – of her co-hosts, Watko continued in her report: “We’ve had a ‘Formation’ of traffic cones all morning … that’s still blocking two right lanes, you might want to move over ‘to the left, to the left’.”
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Celebrating her effort, co-host Keith Jones declared: “Sheila Watko, you ‘Run The World’.”
Take a look at the full report below:
Yesterday (August 8) saw ‘Renaissance’ debut at Number One on the US’ Billboard 200 chart. All seven of Beyoncé’s studio albums have peaked in the top spot, however her latest is notably significant in that it’s already become her highest-charting album in every major market. In addition to the US, it debuted at Number One in the UK, France, Ireland, the Netherlands, Canada, Australia and New Zealand.
In a four-star review of ‘Renaissance’, NME’s Kyann-Sian Williams said Beyoncé’s latest album “continue[s] leading the charge to bring Black culture back to the forefront of house and dance scenes”. Among other fans of the album were Lil Nas X, who declared that ‘Renaissance’ is “kinda changing my life somehow”.
Days after the album was released, Beyoncé shared a four-track EP of ‘Break My Soul’ remixes, followed by a standalone remix helmed by herself and Madonna. There have been a few controversies surrounding the album, though, with Bey being forced to scrub an ableist lyric from the track ‘Heated’, and an interpolation of Kelis’ song ‘Milkshake’ from ‘Energy’.
Beyoncé’s just-released seventh album, ‘Renaissance’, has topped the Billboard 200 chart in the US, continuing her unbroken streak of albums debuting at Number One.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
All seven of the artist’s studio albums have peaked in the top spot, however, the release of ‘Renaissance’ is notably significant in that it’s already become Bey’s highest-charting album in every major market. In addition to the US, it’s debuted at Number One in the UK, France, Ireland, the Netherlands, Australia and New Zealand. It’s likely to top the Canadian chart as well, however data for that is yet to be released.
‘Renaissance’ also came in at Number Two in Germany, beating her last album, 2016’s ‘Lemonade’, by one place. The only downtick in sales between ‘Lemonade’ and ‘Renaissance’ happened in Switzerland – ‘Renaissance’ debuted at Number Three, one spot below where ‘Lemonade’ peaked.
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In its first week of domestic release, ‘Renaissance’ shifted 332,000 equivalent album units. As Billboard reports, this makes it the year’s biggest week for any record released by a solo female artist – massively usurping Lizzo, who formerly held the record with 69,000 units of ‘Special’ shifted in its first week – as well as the second biggest sales week altogether; Harry Styles’ latest, ‘Harry’s House’, shifted 521,000 units in its first week.
In terms of traditional album sales – whereby only full-album purchases (across both physical and digital platforms) are counted, with streaming numbers having no factor – ‘Renaissance’ shifted a total of 190,000 copies. 121,000 of those were CDs, while 43,000 sales came from digital downloads, and 26,000 from vinyl copies.
Billboard notes that 72 per cent of CD copies were sold online, and while the bulk of the album’s units were tracked from streaming numbers, ‘Renaissance’ still would have topped this week’s Billboard 200 on traditional sales alone. It also would have topped the chart without a single copy sold, given the insane numbers it did on streaming platforms. This week’s Number Two record, Bad Bunny’s ‘Un Verano Sin Ti’, shifted 104,000 units altogether.
With its 26,000 copies sold, the vinyl release of ‘Renaissance’ has become the highest-selling release of its kind – an R&B or hip-hop album released by a woman – since Luminate (which the Billboard 200 is based on) began tracking sales in 1991. The album is currently hard to find on the format – Bey’s webstore sold out of copies from the first pressing before it was released – however a second pressing will be released on September 16.
With the monumental sales week she’s had, Beyoncé is the woman to have an album top the Billboard 200 in 2022. The last record to achieve the feat was ‘30’ by Adele, which arrived last November. Notably, both ‘Renaissance’ and ‘30’ – and ‘Harry’s House’, for that matter – were released through Columbia Records.
In a four-star review of ‘Renaissance’ – which officially arrived on July 29 – NME’s Kyann-Sian Williams said Beyoncé’s latest album “continue[s] leading the charge to bring Black culture back to the forefront of house and dance scenes”. Among other fans of the album were Lil Nas X, who declared that ‘Renaissance’ is “kinda changing my life somehow”.
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Since the release of ‘Renaissance’, Beyoncé has a four-track EP of ‘Break My Soul’ remixes as well as a standalone remix helmed by herself and Madonna. There’s also been a couple of controversies over the album, with Bey being forced to scrub an ableist lyric from the track ‘Heated’, and an interpolation of Kelis’ song ‘Milkshake’ from ‘Energy’.
Beyoncé has come through with yet another remix of ‘Break My Soul’, this time linking up with Madonna for a take on the lead single from ‘Renaissance’ dubbed ‘The Queens Remix’.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Clocking in at almost six minutes long, the track leans heavily into the original song’s house and disco influences. It marks the first proper collaboration between Beyoncé and Madonna, though the former did appear in the video for the latter’s Nicki Minaj-assisted 2015 single ‘Bitch I’m Madonna’.
It also comes as the fifth official remix for ‘Break My Soul’, riding hot on the heels of a four-track remix EP that Bey dropped on Thursday (August 4). That release features new spins on the song – which initially arrived as our first preview of ‘Renaissance’ back in June – by Honey Dijon, will.i.am, Terry Hunter and Nita Aviance.
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Have a listen to ‘Break My Soul (The Queens Remix)’ below:
Yesterday (August 5), it was confirmed that ‘Renaissance’ had charted in the UK as Beyoncé’s fourth Number One album, while ‘Break My Soul’ became her highest-charting solo hit in 14 years. The burst of good news followed a string of controversy in the wake of the ‘Renaissance’ release, as Bey was forced to scrub an ableist lyric from the track ‘Heated’, and an interpolation of Kelis’ song ‘Milkshake’ from ‘Energy’.
In a four-star review of ‘Renaissance’, which was released last Friday (July 29), NME’s Kyann-Sian Williams said Beyoncé’s latest album “continue[s] leading the charge to bring Black culture back to the forefront of house and dance scenes”. Among other fans of the album were Lil Nas X, who declared that ‘Renaissance’ is “kinda changing my life somehow”.
Meanwhile, Madonna has remained staunch on the importance of owning the rights to her own music, saying in a new interview that she has no plans to sell her sprawling back catalogue. When asked why she wouldn’t consider doing so – as the likes of Justin Timberlake, Sting and the estate of David Bowie have in recent months – she responded bluntly: “Because they’re my songs. Ownership is everything isn’t it?”
Madonna’s last studio album was her 14th, ‘Madame X’, which arrived in June of 2019 and earned a four-star review from NME. Last December, she teased that new music could be released in 2022, sharing a photo of herself recording vocals in a studio. “So great to be back in the studio making Music again,” she captioned a post on social media, promising “suprises [sic] in the New Year”.
Beyoncé has earned her fourth number one album this week with ‘RENAISSANCE‘ while The Cribs have entered the top 40 with reissues of their first three releases.
READ MORE: Beyoncé – ‘Renaissance’ review: a celebration of love and Black joy
Beyoncé’s ‘RENAISSANCE’ is her first number one album in six years and outsold its nearest competition by three to one, according to The Official Charts Company.
Bey’s other number one albums include her debut album, ‘Dangerously in Love’ (2003), ‘4’ (2011)and ‘Lemonade’ (2016). As a member of Destiny’s Child, Beyoncé boasts another chart-topper with ‘Survivor’ reaching number one in 2001.
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‘RENAISSANCE’ also tops the Official Vinyl Albums Chart while lead single ‘Break My Soul’ becomes Beyoncé’s highest-charting solo hit on the UK Official Singles Chart in 14 years.
Elsewhere in the charts, the reissues of The Cribs first three full-length albums all enter the top 40. The band, comprising brothers Gary, Ryan and Ross Jarman, match their original 2007 Number 13 peak with third studio album ‘Men’s Needs, Women’s Needs, Whatever.’
Two of the indie-rock outfit’s records score new peaks on the Official Albums Chart with 2005 release ‘The New Fellas’ at number 20 and their eponymous 2001 debut ‘The Cribs’ going in at at Number 23. The group also dominate this week’s Official Vinyl Albums Chart, with ‘Men’s Need’s, Women’s Needs, Whatever’, ‘The New Fellas’ and ‘The Cribs’ charting at Numbers two, three and four respectively.
Maggie Rogers also earned her first top ten spot on the chart, with ‘Surrender’ entering at number six. Orbital meanwhile earned their tenth Top 40 album with greatest hits collection ’30 Something’, which went in at number 19.
In other news, Beyoncé also released a surprise four-song EP of remixes for her ‘Renaissance’ cut ‘Break My Soul’.
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Comprised of four revamped cuts of the titular lead single, the EP enlists Honey Dijon, will.i.am, Terry Hunter and Nita Aviance, who each offer different versions of the song.
For his part, The Black Eyed Peas frontman distills the track’s core bounce beat, while Hunter adds church organs for a more ethereal take on the album’s distinct ballroom sound.
Meanwhile, both Aviance and Dijon extend the original song’s runtime beyond the six minute mark, offering trance cadences and tribal drum beats, respectively. Dijon’s track adds to her previous involvement with the album, having featured as a producer on fellow ‘Renaissance’ tracks ‘Cozy’ and ‘Alien Superstar’.
The EP’s inclusion of notable names in the dance music scene is in-keeping with the album’s sonic focus. Saying as much in a four-star review for NME, Kyann-Sian Williams wrote that ‘Renaissance’ is “indebted to house music and New Orleans bounce”, and pays “homage to that scene’s unique spirit”.
Beyoncé is set to remove an offensive album lyric which uses an albeist slur from her new album ‘Renaissance’.
READ MORE: Beyoncé’s new song ‘Break My Soul’ is a confidence-oozing comeback that embraces nu-disco
The star faced a backlash over the use of an offensive term on her new track ‘Heated’, where she sings: “Sp***in’ on that ass, sp** on that ass,” towards the end of the song.
While used colloquially in the United States with a similar meaning to “freak out” or “go crazy”, the term emerges from the word “spastic”, which is used medically to describe the spasms one might experience from a condition like cerebral palsy. The term is often used in a derogative manner to describe those with disabilities, especially cerebral palsy.
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Now, following the backlash, the star’s publicist told Sky News the lyric is now set to be replaced and that it was not “used intentionally in a harmful way.”
Disability equality charity Scope had described the use of the “deeply offensive term” as “appalling”, while disability advocate Hannah Diviney said the singer’s status as one of the most famous musicians in the world did not “excuse her use of ableist language”.
“So @Beyonce used the word ‘sp**’ in her new song ‘Heated’. Feels like a slap in the face to me, the disabled community and the progress we tried to make with Lizzo,” added Diviney.
Lizzo. Credit: Bryan Bedder/Getty Images
Lizzo also received a backlash over an ableist lyric in her single ‘Grrrls’ a few weeks ago, which she has since addressed and altered.
Following criticism of her single, Lizzo responded in a statement posted to her social media, writing: “Let me make one thing clear: I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand [sic] the power words can have (whether intentionally or in my case, unintentionally).”
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She went on to say that the altered lyric came as a direct result of her “listening [to her critics] and taking action”, further noting: “As an influential artist, I’m dedicated to being part of the change I’ve been waiting to see in the world.”
Last week, Kelis also criticised Beyoncé after she claimed that she was sampled on ‘Renaissance’ without granting permission.
Beyoncé has been criticised for using an ableist slur on her new album ‘Renaissance’.
READ MORE: Beyoncé’s new song ‘Break My Soul’ is a confidence-oozing comeback that embraces nu-disco
The star faced a backlash over the use of an offensive term on her new track ‘Heated’, where Beyoncé sings: “Sp***in’ on that ass, sp** on that ass,” towards the end of the song.
While used colloquially in the United States with a similar meaning to “freak out” or “go crazy”, the term emerges from the word “spastic”, which is used medically to describe the spasms one might experience from a condition like cerebral palsy. The term is often used in a derogative manner to describe those with disabilities, especially cerebral palsy.
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It comes just weeks after Lizzo also received a backlash over an ableist lyric in her single ‘Grrrls’, which she has since addressed and altered.
So @Beyonce used the word 'spaz' in her new song Heated. Feels like a slap in the face to me, the disabled community & the progress we tried to make with Lizzo. Guess I'll just keep telling the whole industry to 'do better' until ableist slurs disappear from music ?
— Hannah Diviney (@hannah_diviney) July 30, 2022
“So @Beyonce used the word ‘sp**’ in her new song ‘Heated’. Feels like a slap in the face to me, the disabled community and the progress we tried to make with Lizzo,” wrote disability advocate Hannah Diviney.
“Guess I’ll just keep telling the whole industry to ‘do better’ until ableist slurs disappear from music.”
Another added: “Screw you @beyonce. You should be a role model, not making money from the lazy use of derogatory language. Shame on you.”
Screw you @Beyonce . You should be a role model, not making money from the lazy use of derogatory language. Shame on youhttps://t.co/xYc3cEH4fA
— Mike Smith (@mikedgsmith) August 1, 2022
Here we are again.
Not long after ableist language from Lizzo, Beyoncé’s new album features an ableist slur not once, but twice.
Disabled people’s experiences are not fodder for song lyrics. This must stop.https://t.co/UJXrJxdtXf
— Scope (@scope) August 1, 2022
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Meanwhile, Scope also took to Twitter to criticise the singer. “Here we are again. Not long after ableist language from Lizzo, Beyoncé’s new album features an ableist slur not once, but twice. Disabled people’s experiences are not fodder for song lyrics. This must stop.”
NME has contacted Beyoncé’s publicist for comment.
Following criticism of her single, Lizzo responded in a statement posted to her social media, writing: “Let me make one thing clear: I never want to promote derogatory language. As a fat black woman in America, I’ve had many hurtful words used against me so I overstand [sic] the power words can have (whether intentionally or in my case, unintentionally).”
She went on to say that the altered lyric came as a direct result of her “listening [to her critics] and taking action”, further noting: “As an influential artist, I’m dedicated to being part of the change I’ve been waiting to see in the world.”
Last week, Kelis also criticised Beyoncé after she claimed that she was sampled on ‘Renaissance’ without granting permission.
Beyoncé has celebrated the release of her seventh album, ‘RENAISSANCE’, with the song-by-song premiere of lyric videos for each track, as well as multiple statements thanking fans for their patience and dedication.
READ MORE: Beyoncé’s new song ‘Break My Soul’ is a confidence-oozing comeback that embraces nu-disco
Each of the album’s 16 songs will receive its own video, premiered in order of their appearance on the tracklisting with a two-minute countdown between them. The videos for the first eight songs on the album – including a new one for ‘BREAK MY SOUL’ – have been premiered thus far. Take a look at the video for ‘I’M THAT GIRL’ below, and keep an eye on Beyoncé’s YouTube channel here for the remaining handful.
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Meanwhile, Beyoncé has shared a statement addressing the fact that ‘RENAISSANCE’ leaked online ahead of its release today (July 29), thanking fans for “calling out anyone that was trying to sneak into the club early”.
In a handwritten letter posted to her Instagram profile, Beyoncé commended her loyal fanbase for not engaging with the pirated versions of the record, saying she’s “never seen anything like it”.
She went on to express gratitude for the “love and protection” she’d received from them, noting: “It means the world to me. Thank you for your unwavering support. Thank you for being patient. We are going to take our time and enjoy the music. I will continue to give my all and do my best to bring you joy. I love you deep.”
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A post shared by Beyoncé (@beyonce)
Beyoncé also shared a statement about the release of ‘RENAISSANCE’ – which was revealed earlier to be the first instalment in a project spanning three separate “acts” – on her official website, noting that all three parts of the project have been completed, and were recorded over three years during the COVID-19 pandemic.
In the statement, which was also included as part of the album’s physical materials, Beyoncé said that working on ‘RENAISSANCE’ was creatively fulfilling as it “allowed me a place to dream and to find escape during a scary time for the world”.
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She continued: “It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgement. A place to be free of perfectionism and overthinking. Place to scream, release, feel freedom. It was a beautiful journey of exploration.”
Beyoncé went on to thank her children, Rumi, Sir and Blue, for helping to foster “the space, creativity, and inspiration” that she embraced on the album, as well as her husband and “muse”, Jay Z, who she said “held me down during those late nights in the studio”.
She also gave mention to her late uncle, Johnny – to whom she dedicated her GLAAD Vanguard Award in 2019 – pointing out that “he was the first person to expose me to a lot of the music and culture that serve[d] as inspiration for this album”.
Furthermore, Beyoncé shouted out “all of the pioneers who originate culture” and “all of the fallen angels whose contributions have gone unrecognized for far too long”, declaring ‘RENAISSANCE’ to be “a celebration for you”. And to her fans, Beyoncé addressed a message of hope: “I hope you find joy in this music. I hope it inspires you to release the wiggle. Ha! And to feel as unique, strong, and sexy as you are.”
Have a look at the full statement below:
‘RENAISSANCE’ was first announced on June 16, with ‘BREAK MY SOUL’ landing as its first and only single a few days later. At the time, it was teased that the album would feature country and dance tracks. The full tracklisting was revealed last Thursday (July 21), alongside a list of credits for its various contributors. That list may not be fully accurate, however, as Kelis has claimed she was sampled on a track without permission.
Beyoncé‘s new album ‘RENAISSANCE‘ is a three-part project, according to material supporting the record’s vinyl release.
READ MORE: Beyoncé’s new song ‘Break My Soul’ is a confidence-oozing comeback that embraces nu-disco
A fan who has received their vinyl shared an image from an accompanying booklet in which Beyoncé writes about the “three act project” being recorded over the last three years.
“This three act project was recorded over three years during the pandemic,” Beyoncé wrote. “A time to be still, but also a time I found to be the most creative.”
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It’s not clear if the ‘RENAISSANCE’ album that the pop star is releasing tomorrow (July 29) is the ‘act i’ that is referenced in the note. Additionally, it’s not known if the other two parts – as well as their titles – will land tomorrow, come as separate releases or be presented in other formats. NME has reached out to Beyoncé’s representatives for comment.
THREE ACTS CONFIRMED!! #RENAISSANCE pic.twitter.com/PR1vD3VihB
— Nadz (@nadzrrn) July 28, 2022
Elsewhere in the note, Beyoncé said: “Creating this album allowed me a place to dream and to find escape during a scary time for the world. It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom. It was a beautiful journey of exploration.”
The news follows the official composer credits for ‘RENAISSANCE’ being released last week. Contributors can be seen by viewing the page source of its listing on Apple Music. The information was also shared on the Twitter fansite @BeyLegion.
Acts listed include Nile Rodgers (on ‘Cuff It’), Pharrell Williams and Skrillex (both on ‘Energy’), Drake (‘Heated’), A.G. Cook (‘All Up In Your Mind’) and BloodPop (‘All Up In Your Mind’ and ‘Pure/Honey’).
Meanwhile, listening parties around the world have been teased for the singer’s seventh album – her first since 2016’s ‘Lemonade‘ – ahead of its arrival.
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Earlier this week numerous country-specific branches of Sony Music announced ‘Club Renaissance’ listening parties in their regions, set to take place tonight (July 28) in the hours before Bey’s new album is released.
