It’s easy to make a case for Homecoming as the peak musical moment of the decade. Like other decade highlights such as A Beautiful Dark Twisted Fantasy, or To Pimp a Butterfly, and of course Beyoncé’s own Lemonade; Homecoming is a visual-oriented experience with that leans towards high concepts and narratives. But perhaps a bit more than these others, it avoids leaning on its concept too heavily and feeling very tied to this decade.
It presents Beyoncé as the heady auter that the 2010’s pop star was intended to be, but it also presents her as the classic pop system virtuoso of dance and performance, where little is needed outside feeling awestruck by the pure spectacle. It is the best Coachella performance ever, in a time when the festival is more regulated than ever. This pyramid-stage remixing of her whole discography is perhaps the most flawless run of Beyoncé songs in a row that you can take home and listen to, with a vocal performance so transcendent that it sounds super human.
Aside from the constant stream of sheerly impressive performance, the impeccable planning makes the energy feel like one big climb. The horn entry of “Crazy in Love” should make anyone making music today green with envy, but you can kind of hear how Beyoncé paces herself a bit. She doesn’t coast through by any means, but she remains a bit constrained in the verses and the chorus is cushioned by her backup singers. There’s also a dance break and a half-speed break down following the first chorus. This way when she sings the absolute piss out of “Don’t Hurt Yourself” or closer “Love on Top;” or starts the quick, undeniable run through “Hold Up,” “Countdown,” and “Check On It” before diving into “Deja Vu,” it subtly hits a bit harder.
The arrangements are also intricate and mostly pretty damn huge, but they don’t become supremely over-the-top or over produced, so it can feel like a balm listening at home, which is kind of what’s compelling about the combination of this album release and the Netflix film to accompany. Aside from actually being there, the peak experience is watching it all happen with your living room TV turned way up. But somehow, the album offers something a bit different. In headphones, you can bear witness to the ways her horns punch into “Drunk in Love” to prop up the chorus without overpowering Beyoncé; the intricacy with which stepping and clapping pulls us into that glassy “Diva” sample; and the way “Single Ladies” effortlessly interpolates a phat New Orleans parade break down without missing a beat. This is capped off by a bonus track, Beyoncé’s rendition of classic “Before I Let Go,” which expertly meshes her modern sensibilities with that undeniable classic horn line.
It might be a bit harder to pin an exact instant to it, as her most dedicated fans already streamed it live in full and now, though freshly mixed and mastered, it doesn’t have the surprise, sudden impact that her two big secret album drops of the 2010’s had. However, Beyoncé has built an astounding live track record and with the addition of documentary footage to illuminate the insane preparation between her giving birth and return to performing, this document illuminates the ferocity with which Beyoncé created this victory lap.
Beyoncé also tends to have a bit of a wall between her and her audience. Sure, she’s penned lyrics referencing their theories, but she doesn’t do interviews anymore, and pretty obsessively controls the narrative around her, but here that is shed to an extent. She quite literally thanks her Beyhive on stage, and with the accompaniment film seemingly involves us in her personal life. Of course, the whole experience is directed at the black community and black women in particular, but it also feels like a personal note to anyone who wants to listen. Perhaps that what the 2010’s were all about. It was a time period where specific identities (queer, black, queer and black) that may not have been previously accepted in mainstream culture were directly addressed by the people who experience them and more than any of them, Beyoncé transcended this and felt vital to all.