Yet, despite the part she’s played in this new normal (the industry is just now recovering from when she killed the album rollout in 2013), Beyoncé is one of the last titans left still showing up for interviews, documenting her shows, and creating cinematic experiences out of four-minute songs.Įvery track on Beyoncé’s last two albums, her 2013 self-titled LP and 2016’s Lemonade, came accompanied by a music video - the latter of which was packaged as a film and premiered on HBO. This means no cover stories, no concert films, and very few music videos. Artists who can afford the cost of mystique would rather be heard than seen. In general, the modern rules of music supremacy support this reclusiveness is more valuable than visibility these days. Today, whenever there’s new material from certain luminaries - Drake, Kanye West, Kendrick Lamar - fans are lucky to receive one visual per album. Sometime after MTV and BET became best known for Ridiculousness and Baby Boy reruns, making YouTube the final frontier for music videos, artists and audiences began to devalue the practice of bringing songs to life. She’s a throwback to a different generation in this regard. With every album she drops, multiple meticulously crafted visuals are a given. Nearly two decades since the heyday of countdown shows like TRL and 106 & Park - back when big-budget music videos were thought to be key components of superstardom - Bey has remained committed to a medium her peers seem to only have a casual interest in now. But more than that, she’s a prolific one. Beyoncé is an accomplished visual artist.
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