How many times can Beyoncé snatch my wig and throw it across the stratosphere? Let us count the ways. Actually—let’s not do that; we’d be here ‘til Inauguration Day. Instead, let’s take a look at this thread Twitter user Yonce Vocals dropped that perfectly showcases Beyoncé’s natural ability to upgrade a song from a lit track to a full-fledged MOMENT.
I present, example one: APES**T. Here we have a bop that could’ve also honestly stayed a Migos track, respectfully smacked, flipped and turned upside down by Beyoncé. I’m not gon’ lie to you though, I love when Bey gets in her rapper bag—the female version of a hustler in me starts shaking, in a good way. But I’d also be lying if I said that the Migos’ demo track wouldn’t equally bang at the pre-pandemic function. “Like my chips with the dip like Doritos.” I mean! Speaking of Doritos, I’m actually pissed now that there hasn’t been a Migos x Doritos collab yet. Come on guys, these are what Rap Snacks’ dreams are made of. Make the call already.
Next up, Ryan Tedder’s “Halo” gets a more angelic feel, thanks to Beyoncé’s sweet mezzo-soprano tone. Now, this is one song I’m glad Tedder let Bey adopt and bless. It seems like just yesterday my friends and I were trying to test who could hit that falsetto run the best in that “I ain’t never gonna shut you OOoouuutt” line. Good times, I’ll tell ya. Good times. (Spoiler alert: it was me, I hit that note the best. I don’t care what my friends say. But that’s probably the only Beyoncé note I’ll ever be able to hit again so someone please clap.)
Moving onto “Hold Up,” one of my personal faves off Lemonade. Ezra Koenig is the one giving us the vibes and if I’m honest, I’m not mad at it. Go’ head, White Boy! The little twang in Bey’s voice and enunciations stand out more though, especially now that the two are side-by-side. It feels like a good nod back to how Koenig did it but to be real, both versions work for me. Of course, Queen Bey’s take ultimately reigns supreme here because, duh?
Now, onto the one that arguably matters the most: “Formation,” demoed by Rae Sremmurd. Now listen, I might be in the minority here (actually I’m not, because The Glow Up’s Managing Editor Maiysha Kai also agrees and that’s all the confirmation I need, ATP), but I think I would have rather had Rae Sremmurd’s version. Just listen to it!
No, seriously. Sit back, close your eyes, and imagine the pre-pandemic party scene in your head. Can you smell the hookah off in the cut? Do you see all the men and women choosing over by the bar? And most of all, aren’t you hypnotized by all the ladies in the place throwing it in the circle while their friends hype them up? You see it, I know you do. Rae Sremmurd’s version makes you want to get up and throw some mo’ whereas Bey’s just makes you want to record those cute little videos of yourself lip-syncing and sipping mimosas while out to brunch at a day party for your Insta-story. And that’s no shade to Bey, brunch or day parties—especially considering the fact that we can’t really indulge or enjoy the latter two the way we want to right now. (You know, with the whole worldwide pandemic still happening and all.)
The rest of this thread tackles “1+1,” “Dance For You,” “Jealous,” and “Boss,” which were demoed by “Falsetto” singer The Dream, Lyrica Anderson, and Ty Dolla $ign respectively. But since you’re probably now daydreaming about virus-free air, breakfast potatoes and twerking, I’ll leave you to make the rest of these judgment calls for yourself, at your leisure.