The use of sampling in pop music remains a hotly debated issue, and for good reason. When samples are used heavily, there’s a fine line between creating a fresh pop gem or massacring a classic. Beyoncé’s decision to heavily sample underground club banger Pon de Floor on new single Girls makes perfect sense from a pop standpoint, but the end result feels haphazard and ultimately pointless.
I greeted the news that Beyoncé would be working with artists such as Diplo, Switch and Sleigh Bells with scepticism. Inarguably a ferocious performer and undeniable talent, Beyoncé had never ventured too far from the most standard of pop formulas; her most out-there single, Diva, was merely a re-hash of the cult smash A Milli. It comes as no surprise therefore that despite Diplo and Switch’s influence, Beyoncé once again doesn’t take much of a risk, appropriating almost the entirety of Pon de Floor in an effort to bring it to the masses while making herself seem far more current and edgy than she actually is.
Lyrics-wise too, Beyoncé sticks to tried-and-tested territory. Girls is another female empowerment anthem about, “girls, who run the world/girls, who run this motha” (confirmation that yes, Beyoncé is physically unable to swear). The Beyoncé school of feminism does seem to running low on creativity, Girls’ lyrics at times feel awkward and downright silly; “stong enough to bear the children and get back to bidness”. As one commentator has already pointed out, Girls may run the world, but gay boys pay Beyoncé’s bills. Now wouldn’t that make for some more interesting lyrics from a singer with her good girl image?
As unimaginative as Girls may be, it’s brand of pre-packaged mass-marketed empowerment does sell by the truckload. Add to that the fact that the pinched Major Lazer beat is guaranteed to call all booty-shakers to the floor, Beyoncé is on to another hit. It’s just a shame that Girls feels so lazy when Beyoncé is at a point in her career where she should be taking risks.
Grade C
Lets Get Unconscious 