“7/11,” is a club banger if there ever was one. The song calls back the flirty aggressiveness and grit that made “Flawless” such a game-changer for Beyoncé's sound, but swaps out the empowerment “woke up like dis” message for a different, perhaps more universal mantra: get up and dance your ass off.
So maybe it’s not Beyoncé, typically one of pop’s greatest bards, best lyrical moment. But the intensity that she tears into her call to the dance floor hints that she really doesn’t care. Shut up and put your foot up, she’s saying. Now spin it around. Beyoncé just made her very own “Hokey Pokey.” Resistance is futile.
Repeat listens to “7/11” suggests that it’s intended as a 4 a.m. dance-floor anthem, meant to be listened to when you’re in that state of mind: drunkenly dancing with your friends and literally shouting lyrics at each other like screaming the words to the song is most serious thing you all have ever done. “GURL I WANT TO KICK IT WITH YA.”
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“Ring Off” is almost jarring in its more cooled down, island vibe. (Listen here.) It’s a happy-go-lucky track. Well, about as happy-go-lucky a track as a track about the suffocating pressures of marriage and family can be. The track is a change of pace for Beyoncé, in that it’s one of the most conventional songs she’s produced in a while.
So much of the Beyoncé album, the life-changing baby dropped on us all like a surprise from heaven’s stork-angels last December, worked to reinvent its legendary creator. Radio-friendly hooks took the backseat to sex-soaked, meandering, experiments that were as hard-hitting as they were moody and romantic. It’s no wonder that the album never yielded a number one single—it’s meant to be taken as a collection, a modern pop masterpiece.
“7/11″, it’s quite the banger. Over a trill of throbbing trap beats, Bey drops diva-sized braggadocio, as she swaggers and stomps about while “flexin’ with my hands up.” If you thought the self-titled LP flaunted unflinching assertiveness, consider this track Beyoncé taken to the next level.
On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child.
On first listen, they both seem like welcome additions to the BEYONCÉ era and “Ring Off” even contains a callback to 4 track “Love On Top” in the outro.
So much of the Beyoncé album, the life-changing baby dropped on us all like a surprise from heaven’s stork-angels last December, worked to reinvent its legendary creator. Radio-friendly hooks took the backseat to sex-soaked, meandering, experiments that were as hard-hitting as they were moody and romantic. It’s no wonder that the album never yielded a number one single—it’s meant to be taken as a collection, a modern pop masterpiece.
"On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child."
"On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child."
"On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child."
"On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child."
t’s no wonder that the album never yielded a number one single—it’s meant to be taken as a collection, a modern pop masterpiece.
She could fart out a song and the critics would praise her; she's so overrated. If anyone else recorded those songs, they would labeled awful and filler.
"On “7/11,” produced by Bobby Johnson and Detail, she’s looking to pack dance floors. “Legs moving side to side, smack it in the air,” Bey rap-sings in a warbly double-time cadence reminiscent of her early days with Destiny’s Child."
“7/11″, it’s quite the banger. Over a trill of throbbing trap beats, Bey drops diva-sized braggadocio, as she swaggers and stomps about while “flexin’ with my hands up.” If you thought the self-titled LP flaunted unflinching assertiveness, consider this track Beyoncé taken to the next level."