- «I got diamonds beneath my thighs where his ego will find bliss.»
- «Hypersonic, sex erotic / On my body, boy, you got it / Hit them ‘draulics while I ride it / Got me actin’ hella thotty.»
- «Must be the cash ’cause it ain’t your face / It must be the cash ’cause it ain’t your face.»
- «Motorboat, baby, spin around / Slow-mo coming out my blouse.»
- «Only a real one could tame me / Only the radio could play me / Oh, now you wish I was complacent.»
- «Dimples on my hip, stretch marks on my tits / Drinking my water, minding my biz / Monday, I’m overrated, Tuesday, on my dick.»
- «Get your money, money, cunty, hunty.»
- «If you make my body talk, I’ma leave you in a trance / Got you walking with a limp, bet this body make you dance.»
«I got diamonds beneath my thighs where his ego will find bliss.»
Beyoncé/YouTube
Song: «Alien Superstar»
The third track of «Renaissance» is when Beyoncé starts to get pretty randy. This line in particular seems to reference her own 2009 single «Ego,» which uses the title as a double entendre for a penis.
Interestingly, it also seems like a reference to Maya Angelou’s famous feminist poem «Still I Rise» («Does my sexiness upset you? / Does it come as a surprise / That I dance like I’ve got diamonds / At the meeting of my thighs?»).
«Hypersonic, sex erotic / On my body, boy, you got it / Hit them ‘draulics while I ride it / Got me actin’ hella thotty.»
Mason Poole
Song: «Cuff It»
When Beyoncé casually throws out the phrases «sex erotic» and «hella thotty» on track four, you know the album will be a wild ride.
«Must be the cash ’cause it ain’t your face / It must be the cash ’cause it ain’t your face.»
Kevin Mazur/Getty Images for Roc Nation
Song: «Church Girl»
As if this line wasn’t devastating enough, Beyoncé decided to repeat it twice in a row.
This might be a cheeky reference to «Family Feud,» Beyoncé’s 2017 collaboration with her husband Jay-Z, on which he raps, «Ain’t no such thing as an ugly billionaire, I’m cute.»
It’s also an interpolation of the 1992 track «Where They At» by DJ Jimi, who’s credited as a cowriter on «Church Girl» («It must be the pussy ’cause it ain’t your face»).
«Motorboat, baby, spin around / Slow-mo coming out my blouse.»
Mason Poole
Song: «Virgo’s Groove»
The longest song on «Renaissance» is also one of the most graphic. «Virgo’s Groove» delights in specific sexual acts like «motorboating», celebrating the physical pleasures of intimacy (or, as Beyoncé puts it, «nudity and ecstasy»).
«Only a real one could tame me / Only the radio could play me / Oh, now you wish I was complacent.»
Tidal
Song: «Heated»
In a rare moment of venom, Beyoncé seems to reference the betrayal detailed on her previous album.
Her refusal to be tamed, played, or complacent strongly recalls both «Don’t Hurt Yourself» and «Sorry,» the third and fourth tracks from «Lemonade» — blistering kiss-off anthems that address a cheating husband.
«Dimples on my hip, stretch marks on my tits / Drinking my water, minding my biz / Monday, I’m overrated, Tuesday, on my dick.»
Mason Poole
Song: «Heated»
It’s always a thrill when Beyoncé goes into full-on flex mode, and «Heated» boasts her best take-down of tabloids and critics since the opening lines of «Formation» («Y’all haters corny with that Illuminati mess / Paparazzi, catch my fly, and my cocky fresh.»)
This lyric also contains a brazen nod to growth and motherhood, conflating stretch marks with power, much like the earlier track «Cozy» («Kiss my scars because I love what they made»).
«Get your money, money, cunty, hunty.»
Carlijn Jacobs
Song: «Pure/Honey»
Even though «cunty» and «hunty» are both words commonly deployed in drag, ballroom, and queer house music («Pure/Honey» samples Kevin Aviance’s «Cunty» and Moi Renee’s «Miss Honey»), it’s still felt like a small electric shock the first time I heard Beyoncé use them.
«If you make my body talk, I’ma leave you in a trance / Got you walking with a limp, bet this body make you dance.»
Mason Poole
Song: «Summer Renaissance»
Beyoncé closes the album with a disco-house track that flips gender roles from the very first line: «I wanna house you and make you take my name.»
In the pre-chorus, Beyoncé promises to get her lover «walking with a limp,» subverting a common phrase that assumes a woman’s submissive role during sex.
