Hubris takes many forms, but rarely does it come with the exquisite humiliation that Beyonc Knowles has brought upon herself with the title of this latest album. Intended to mark the momentous correspondence of its release date with Beyonc’s actual birthday (4 September), her decision to use the ambiguous abbreviation “B-Day” has landed her, as it were, in the toilet - or at least, in the porcelain bowl often found alongside it. What, one wonders, did she think that extra bowl was for in all those foreign hotels?
Oh well, they’ll only be laughing in Europe - and she’s likely to have the last laugh, as B-Day may be the most potent work she’s ever been associated with, a giant step beyond her Destiny’s Child recordings and her 2003 solo debut Dangerously In Love. It’s not any great revelation in terms of either her vocal technique or lyrical concerns, which stick to the standard R&B diva themes of assertive sexuality, possessiveness, bling-tastic materialism and romantic betrayal; but thanks to the sterling work of her co-producers, notably Swizz Beatz, it’s delivered with the kind of nonchalant panache her rivals struggle to achieve. She actually seems to have a distinctive character, rather than just a series of vocal tics and tricks, and it’s that which enables us to care about the emotional travails that drive the songs. On tracks like “Check On It” and “Ring the Alarm”, Swizz sets her up with perky techno-soul grooves that are like more commercial versions of the UK garage two-step style, adding an irresistible dancehall offbeat to “Get Me Bodied” that should ensure it gets released as a single.



























