Cbreezy

If I were her, I'd be looking for/at a Tinashe like situation. She still seems indie, but paired up with a major-adjacent team for"label services". The only thing is, I wonder aloud if Tinashe pulled that off by showing what she can do by herself and thus a partner would want to tag in. I think one of two things would happen with Mani if she wants that route. She will, a) have to work for it. And by that I mean, be all the way outside and hope to nab her own kinda 'Nasty' moment. Or, b) hope Lydia can package up her stats and current projected potential in such a way that a partner will want to tag in. I kinda gauge, based on that Grammy event, that that is what Lydia was trying to say without saying it verbatim.

The thing is. Everyone is right. This is literally one of those "several things can be true at the same time" scenarios. For the cautious critics: yes, there is an issue with the optics. Jay-Z being in charge and giving the slot to himself + his wife does not look good on the surface and factually will invite critique. The scale of which we won't know until the time. The actual show would be excellent, but the risk is that the chatter/social discourse could ruin the vibe around it before it even happens. Something that was never the case for her previous Halftimes. For those in favor of it: I agree: there is no bigger platform than Halftime. It's huge. She'd slay it. And the benefit to her Act III era would be both immediate and epic. I'm very much of the mindset of: if you think something is such a bad idea, then can you provide 3-5 comparable alternatives with the same scale and reach? When it comes to the enormity of the platform and the resulting benefits (touring, selling the album, etc.), it's hard to argue against it - even in the face of a potential optics issue. The Middle Ground: this is kind of where I sit. I'm not really fussed one way or the other. If it happens, great. I'm on board and will brace to see how they navigate the difficult aspects. If it doesn't, then back to the trenches we go until we see how she kicks off Act III. The more I think of it, though, the least issue-laden route and easiest way forward is just having a Rock act who she has a collab with headline (which will will tick box the growing, arguable need for an act that appeals to a "certain" demographic after years of "Urban" artists). I'd then have Bey added as a co-bill later ala the Coldplay/Bruno show. Or have her pop out as a surprise to circumvent the noise. Though, I'm sure for ratings, they will want the "Beyonce returns to Halftime" news beforehand. Either way, pair that with an album and/or tour commercial after, and boom, we're so back!

I wanted that for her, too. And it just seemed like a lock, given that it was in her home country and how many damn artists they had across the whole thing (opening and closing ceremonies). BUT... Seeing what they did, just from a production standpoint alone, I'm glad she didn't. It was SO... amateur. Beyond the rumor that they weren't biting on her desire to center all-new music (rather than the hits), I just think she's so seasoned at these type of things that it's best to avoid it if those producing don't share the same vision about scale and what she's trying to come across like. That Halftime watched like the 90s Super Bowl Halftimes before it all scaled up in the 00s/10s. Tacky and late. Same as the Olympics.

Longtime Monster here, but I'm going to be slightly controversial. While I don't think Abra has a "bad" performance, I'm not sure it has a barnstormingly great one either. It's ranged from serviceable to good. But never great. I think my issue is that the video is so incredible (literally one of her very best), and none of the live performances mirror that magic. Never liked her standing in that red contraption for most of the first half of the song and slipping in and out of choreo for such a choreo-driven song. Very aware of her physical limitations re health and understand that even the best performances have to draw on tricks of the trade to pace themselves out, but yeah. Don't think there's an Abra performance to date that have me the feels that the video did.

Don't shoot me, but I feel a lot of the Hive's gripes with Jay and the Jay association in general are a little... overcooked. Yes, he's polarizing to some, and his presence in her narrative has been quite jarring in recent years (Tidal, OTR II, EIL, and general mistiming of when they do stuff together). But they are also still celebrated as one of Hollywood's top power couples and have a ton of bops together. More than some of the Hive give credit for, they've also actually been quite separate as acts in recent years. On the front end, at least, he was nowhere to be found on either Rennie or CC. Saying all that, I guess the fairest issue/complaint here again would be: timing. She's in the middle of a trilogy. Distractions, especially with the scale of confusion around her current rollout, don't...help. My question, though, when it comes to a possible Halftime with Jay, is there any actual, legitimate...harm? So long as it's not another EIL or OTRIII, would it not just be another slight side-quest (ala the B'Day nonsense) enroute to Act III?

All fair, rational points. I guess this is where my stan-ism kicks in, because I think I ultimately just want to see her on big stages any way possible. Albeit while being careful and considered about the impact on her brand. She is such a rare sight nowadays (which is a perpetually hard pill to swallow having beein raised on her omnipresent promo), that I can't, in good faith, vote against her big platforms like Halftime as and when they are available to her. Like, I'd gratingly take a co-billed pop out (with Jay or a Rock act) at Halftime over another era that effectively is defined by: dropping a single, doing virtually nothing till album release, a lil whatever come release week, and then going on tour....a year later lol. It's just not it anymore. That said, I think you're onto something with her seeking out other big platforms. If her game is agreeing to gigs that she can spin more $$$ out of via concert specials etc, a back to Brazil special would be...chef's kiss. The only slight issue, and thing to always center is that Bey is a US/western act first and foremost...with global appeal. Those Brazil etc shows are great for the "she's huge overseas" narratives, but she has albums to sell in the US and her core secondary markets (UK etc). And doing that will always be easier by engaging the biggest platforms in those regions: Super Bowl, Glastonbury, etc.

I get the Jay part (not that I agree with it), but why not? It's the biggest platform there is and we have an album to sell?

Interesting. Have very loosely followed their narrative since the Netflix show. They are unique conceptually. Multiracial, with mixed sexual orientations (publicly), and have an image + music that feel like a timely callback to the Y2K heyday of boy bands. Atlantic seems to be pushing hard, too. And there IS a fandom. At the same time, they legit look like they met while working at Abercrombie vs ever being folk that would roll together in "real life" lol. They undoubtedly all look good, but so much of selling music is having the masses buy into a narrative and a fantasy (which, for a group like this, would be authentic/organic friendship and brotherhood). To their defense, they were made on a show where not knowing each other, or even seeing each other, was baked into their beginning. So, making magic out of a slightly unusual beginning can actually be their USP. For me, though, I think the focus should be less on trying to (literally) serve forced cohesion (I just don't buy the tank top, Timberland, snapback cap combos from "some" of them lol). Instead, I think it would/could work with more of a Spice Girls approach. Upsell the differences within the framework of still being cohesive on some fronts.

Generally, trying to map out Bey's era-launching moves these days is hard because she has kind of boxed herself in with how much she's centered her premium, innovative, and rare attraction status. Fairly sure I remember watching something around ST and her team saying that, moving forward, she ONLY wants to do things she hasn't done before. Be that concepts, platforms, ideas, etc. We've seen how that's benefited her in the time since, but I also think it's kind of restrictive at THIS particular point. She's positioned herself as such that she's too big to perform at most award shows, has already done the big festivals, and even carved out concert specials from those. It's to the point now that it's like, if you want to see me perform, you have to pay for it on tour. If you want to watch my videos, you have to watch on whatever streaming service I've cut a mega-deal with. As someone who basks in fave being as revered as she is, taking an aerial view of things, I actually think a lot of her shenanigans help her have this exact status (marketing 101 for premium products is: limit the supply, increase the demand). But standom aside, Bey is not bigger than the programme and, thus, needs wide-reaching promotional platforms to leverage for her next era. So, I say all of this to say, for Act III, I want everything from Halftime (whichever way they can spin it) to Glastonbury (it's been long enough since the last one), and just...more. Rennie had the hype of being away for so long, CC benefitted from the success of Rennie. I don't think she should chance or assume good grace will sell Act III on its own.

In letting my delulu flag continue to fly, I've "decided" (lol) that her best route back to Halftime is via a... ROCK ACT Headliner So, a Kings of Leon, U2 or similar kind of co-billed thing. Naturally aligns with Act III (especially if she's collabed with them on the album) and, of course, serves as the perfect springboard to the new era (e.g. commercial immediately following, etc) In reality, I'm much more aligned with the idea of Jay + Friends (with Bey being folded into that), but I legit think the haters, sheepish GP, and fans that don't know how to keep kitchen-table-talk frustrations internal) will sully the moment with the expected complaints. Preferential treatment, we want her solo, etc. Less biasedly, I do think it may be difficult for Jay to have his cake and eat it, too. Optically speaking. Being positioned as the all-powerful decision-maker on who headlines to then effectively "choose" himself and his wife lol has its...issues. As someone offline described it, it's like setting and marking your own homework. So, yeah, maybe a slightly different approach may be best.

Also, and don't shoot me for being delulu... But anyone else surprised they've not announced the Super Bowl headliner yet? Save for one time it was announced in Nov, it's literally always in Sept. It's now early Oct and...nothing. I keep thinking there is some validity to the Jay + Friends murmurs, which if so, surely guarantees a Bey appearance? And maybe (maybe) explains the refreshed look, Act III delay, and mystery around what is going on BTS. We'll see.

For my non-sensitive Hive, I find her game-shape transformations and the timing of it hella interesting. Our girl always looks great, but let's not play: she typically gets trimmer when something is happening. I'm the firmest believer that an all-encompassing visual is still coming, as well as Act III and all of the visual material that will accompany that (teasers, trailers, promos, covers, looks etc). So, wondering aloud if she's shooting that side of things now. It's anyone's guess what will survive the editing room floor, reshoots, and new footage from now, but it's clear from the CCT interludes (and the clear difference in how she looked then and the initial Rennie clips) that she is still shooting. From a visual continuity standpoint, it will be interesting to see how it is all sewn together, because she legit has been shooting for like four years straight lol.

LOVE me some Bruno (love!), but I am so mad at him for this non-event of an album. Like, and I promise I'm not being a hater, it's actually mind-blowing that THIS was THE solo comeback. Tour was great, but moreso from a "I like Bruno, so can stomach the new cuts in the name of getting to the hits". Something about the album legit feels like he threw it out because he knew he had a tour booked. I really hope he has another ace up his sleeve for the next one, or even just his next big move, because it would be sad for him to settle into a touring legacy act when he very clearly has the capacity and the popularity to deliver big, resonating, and ever career-sized hits still.

Not me getting tugged at in here earlier only for pretty much ALL of social media to be saying the same thing I did about the album in unison. I actually feel for her a little, because this was always meant to be the elevation moment after Jaguar II / On My Mama/ Alright. Let's not be OTT, because it's not doom and gloom. It's just that the moment was meant to be...more.

Interesting. Don't particularly care about him per se, but interested in whether this will set a precedent. I'm sure there are other artists lining up to claim the same. Equally, I'm sure labels will push back and throw everything and the kitchen sink at claiming they spent this, spent that, and are technically owed for sales that didn't recoup. Still, if there are artists willing to do the David vs Goliath thing, there may be some interesting developments with this as law and contracts could still end up in their favor.

Ok, lol. Shade detected, but after listening to the album quite a few times now, I stand by what I said. Cute in places, but doesn't pack enough of a punch for a 22-track project. Simple. Pretty much most of the singles are better than the bulk of the album (though she has obvious singles available with songs like Head to Toe and Single with Bryson). Ps. I live and breathe both music and the music industry (and offline *may* have a relatively close proximity to it), so - respectfully - my "analyses" are never going to be the "love it/hate it/pile on anyone who doesn't agree with the status quo" responses that tend to be rife online. I want Vicky to win, so I'm predisposed to listening to projects with that in mind: will this elevate her? Is there another / bigger On My Mama here? Will the big-name collabs give her a leg up? Across the board, the answer atm feels like...no.

Maybe we hear different. You've named some the bops for sure, but on a 22-track album, that's actually not that many tracks. I also feel that, from that list, maybe only Head to Toe is on par with Let Me. Slow, mid-tempo albums are kinda hard to pull off. Because it kinda requires the songs to pack a punch and have a sort of sonic urgency that it can't really rely on robust, booming production to make for. This album is cute in places, pleasant enough in others, but it doesn't feel elevating in any particular way, nor really packed to the brim with bops. And at 22 tracks (and with that feature list), that's a no no.

Not really feeling so far. I think, for those who haven't listened yet, the suggestion that "it's giving Let Me" is not entirely accurate. It's very slow. Let Me is already kinda polarizing and most of these songs aren't as good it. At all. Like a lot of filler Head to Toe is a bop, though. As is Single with Bryson. The Bruno song is terrible and honestly sounds like some cast-away he was working on for that terrible album of his that was granted permission to live on this. The Spanish vibe does not fit the project. The singles definitely work/pop more in the context of the album.

But...she's Cardi B lol. Her core offering (music) and her position are solidified. Her whole schtick is ghetto fabulous (and we love her for it). Mani, by contrast, serves a more reserved (aspiring) Beyonce tea. All that said, I'm not mad at it. Get money (and hopefully reinvest it into her musical output).

Happy for her getting her coin, but equally irked that it's constantly just brand deals on some influencer type tip. PopEyes today, Air BnB before that, some random thing after that. Can we just fast-forward to the part where it's actual music she's pushing? I think I'd be less bothered about the overt branding content if it's alongside - or better yet, paired with - music. But for someone who is so socially INactive, it makes these posts glaringly transparent. Again, the logical/fiscal side of my mind totally gets it and understands that sis has bills and likely needs to build her brand relationships to leverage against her music later. But still. Let's get a move on lol. Because PoPEyes doesn't even really feel on-brand for her like that-that (athletic, her body being tea, and her purposeful push to come across premium).

It's a ripple effect. Everyone will drag the show (which, in some regards, is deserved), but it's the amalgamation of a lot. Music, as both a product and as an industry, has lost a lot of its premium. The barrier to entry is on the floor: no artist development, virality over long-term honing of craft, and an overwhelming amount of music being released DAILY. I actually like the latter, but it definitely dilutes the premium of the overall machine. Add to that shorter songs, fewer videos, and changing consumption platforms and patterns. Then...on top of that, you have artists big and small, trying to get their Beyoncé on and doing their best to be mysterious by basically avoiding the promotional trail altogether. In one regard, I get it. In an era of hyper-accessibility, where most money comes from the live circuit anyway, it's arguably one way to retain a bit of celebrity sheen and keep the focus on the real money maker: touring. Basically, Bey's decade-long motif: you wanna see me? You have to pay for it on tour. The problem is that everyone isn't Beyonce and they absolutely could and should be visible and actively basking in all that comes with the platform of a VMAs, AMAs, Billboard Awards etc. With them not doing that, the end result is middle-tier shows like the VMAs suffering. The Grammys, for now, will be ok because every industry has to be defined by some kind of apex goal or institution. And, in music, that is the Grammys. But even they aren't safe. Gen-Z and Gen-Alpha kinda don't give a f**k, and most of "their" artists aren't championed in that space, so the long-term prospects for all shows/ceremonies look a lil bleek at worst and subject to being completely reworked at best.

OG Hive here. I remember this well. Actually, remember hearing THIS version FIRST. It was definitely floating around before the video premiered. To set the scene: back then songs didn't drop with this huge whoosh. It was steadily worked at radio, then video later, and performances after that. IIRC, Crazy in Love was such a huge, huge moment that even when they started warming up the follow-up, it took a lil min to fully change gears. Not sure what happened, but I feel that maybe this leaked and was doing the rounds. Always had a hunch that it was either the demo/reference track that leaked or was being tested on the e-streets. Loved it at the time and still do, but the final/official version undoubtedly is the cleaner and more palatable version. The verses on the alternate version are too wordy and kinda 2003 vs the timeless bop we have now.

So happy for them and us. Surprised to see so much confusion over the lengthy preorder window. I was elated when I saw it. It's fairly standard for legacy acts/acts that don't stream like that-that. The UK chart barrier to entry re debuting high is actually quite low. Bananarama opened at #6 with 8.5k recently. Same with FLO, and the Little Mix girls solo. It's one of the few regions where the streaming schtick is more heavily weighted to the singles chart, while actual sales still hold weight on the album chart. The Babes are definitely an album act. So, this is perfect for them and will pay off handsomely. A top 10 entry is almost certainly a given (Q1 is hella quiet), which is already a triumph. But if they continue to play their cards right, there is a chance it could be #1. Like, they could easily let this sell steadily through this year and drop last-minute deluxe editions upon release for the final sprint sales boost Really glad to see other seasoned acts using Kylie's latter-day playbook.

Bey's coin and investment are long and definitely multi-generational. That's a given. At the same time, you'd honestly be surprised: even the biggest megastars opt to work...and not just for the love of it. While Bey doesn't technically "need" to, the reality is that it costs a lot to operate her machine. And by that, I mean everything from her own career to Parkwood to SirDavis (now independently funded), and all the costs that power her personal life too (properties, staff, security, travel, family she takes care of, etc). None of that is fronted by a label. That's from her personal pocket. Again, her money is loooooooong, but for all of that to run at the level she's accustomed to in perpetuity, she does have to go on these biannual tours that bring in more money at once than any other single venture she participates in. My point is, if no other singular venture of hers brings in $200-300million every 2-3 years (with deductions), even if she has a clean billion dollars in the bank, not topping up that sum will ultimately see it continue to reduce. And potentially at a much quicker rate than you may think. Bey, in many regards, is a mini-industry in and of herself, and as such, every industry requires a lot of liquid cash and operating capital to function. Bey's billionaire status is almost certainly attached to a mix of cash and assets. The latter of which can't be used for outgoings. Thus, the allure of creating passive income (to the sums of tour grosses) via extracurricular activities and not needing to endure the rigors of the road. Like the lesser-talented Rih, Kim, etc. Look at Mariah Carey. Her money has NEVER looked funny, and I'm sure it towers tall, and she lives the most opulent life. Yet, to maintain it at the level she's accustomed to (key to the point at hand), it is indeed in her best interest to keep working. Even when it's clear she either doesn't want to or is not in the best state to want to. I'm sure Bey would prefer the passive and thus a freer, more liberated route than having to perform to keep the wheels turning into her 60s.

Fair, but there are a few harsh realities that I'm sure even she has had to make peace with. Artists simply don't make coin like they used to, because music does not make coin like it used to. When playing the Beyonce character, touring is her sole route to the kind of coin she is accustomed to. And it's a tough, rigorous road. One that either leaves artists worst for wear or ever dependent on it. As we've even heard, when it comes to the big, splashy "visual" films, it's not even surefire that streamers will bite on that front either. So, for an act like Bey, cashing in on her cultural cachet and leveraging it towards ventures that allow for passive income is the way forward. I'm sure from her vantage point, it's a case of working smarter, not harder. Like, what worth will it have been working SO hard for SO long if she literally never gets to exit that cycle? Then to see the inferior names like Rihanna and Kim Kardashian make passive income to the sums Bey can only make via sweating out her wig on tour must be annoying and a definite fuel to find her own extracurricular hustle. I say that to say, I've never had an issue with her doing extracurricular-ish, because I want a Fenty, Skims, etc. level of success for her in other ventures. She clearly does, too. Which is why her minimal-effort approach in the past has always annoyed me. It's literally counterproductive to what she's trying to achieve. Throwing her a bone, I do - at the same time - feel she is kinda unintentionally boxed in by the luxe image and brand positioning she has built around herself. It doesn't make it easy nor necessarily smart to be doing the kinda ultra-accessible ish Rihanna and Kim do on socials to promote. It's like the ultimate Catch-22. That said, it feels like she's moving smarter with Cecred.