Beyoncé – Love On Top (video)

Knowles performed "Love on Top" live for first time on August 14, 2011 during her 4 Intimate Nights with Beyoncé held at Roseland Ballroom in New York City. Wearing a gold dress, she performed the song in front of 3,500 people and she was backed by her all-female band and her backing singers, called the Mamas. For the performance, "Love on Top" was given an "uptempo overhaul" and eventually got everyone "moving to the catchy [synthesizers]", as stated by Mike Wass of Idolator. Wass also wrote that "Love On Top" was one of the highlights of the revue.Jon Caramanica ofThe New York Times gave Knowles critical acclaim, favoring performances of "underdog tracks" such as "Party" and "Love on Top". Jody Rosen of Rolling Stone also complimented Knowles'performance of the song, commending how she turned "the groovy 'Love on Top' into a vintage soul showcase, dropping on bended knee to unleash melismas at the top of her vocal range." Jozen Cummings of The Wall Street Journal commented that "the focus was on her voice [on] 'Love on Top' [...] she changes key four times — impressive on the album but even more so in person."Yolanda Sangweni of Essence magazine stated that the fact that Knowles goes through four key changes is "quite a feat for any singer."

It’s been a busy week for Beyoncé, what with those accusations of plagiarism over one portion of her “Countdown” video a few days ago. In case you hadn’t heard, a Belgian choreographer namedAnne Teresa De Keersmaeker said Beyoncé’s clip was “pure plagiarism” as part of it copied the look and dance moves of two pieces she created in the 1990s. 

Beyoncé responded by saying:

“Clearly, the ballet Rosas danst Rosas was one of many references for my video ‘Countdown’. It was one of the inspirations used to bring the feel and look of the song to life. I was also paying tribute to the film, Funny Face with the legendary Audrey Hepburn [...] My biggest inspirations were the [19]60s, the [19]70s, Brigitte Bardot, Andy Warhol, Twiggy and Diana Ross.”

To me, it was clear from the outset that “Countdown” was riffing on numerous styles, moves, fashion and imagery from a range of other sources. I can’t help but feel that much of the “controversy” that whipped up after De Keersmaeker’s initial comments (her stance has since softened a little) was because the source material in question had been fairly obscure for some 15 years and was now suddenly thrust upon a global stage by one of pop’s biggest stars. The media, having never heard of De Keersmaeker’s dance pieces either, then saw the situation as a scandal or an exposé – big US star “caught” copying unheralded foreign artist, etc.

But let’s face it, if a pop artist re-enacted Gene Kelly’s dance scene from Singin’ In The Rain, would it be a scandal? Not likely, because everyone knows Singin’ In The Rain. The source of inspiration would be obvious and well declared.

Anyway, next thing we know the clip for “Love On Top” has appeared on some Australian tv show, and then it hits the web in official form as well. I don’t know why these releases have occurred in such quick succession.

People are saying the “Love On Top” clip is a throwback as well, this time to stuff like New Edition’s “If It Isn’t Love”. And fair enough, it probably is. Five or so dancers in a dance studio, those moves, etc etc. (Except there’s a twist of course, as this time the guys are just the backups and Beyoncé’s in control).

But then, most music videos are throwbacks to something. I can even see one echo of a Britney Spears’ dance move from the “Oops…I Did It Again”video, if we’re talking about little nuances and things (who knows if it was intentional or accidental). And from the first few seconds of dancing and the zoom-in on Beyoncé’s Hi-Top sneakers, you know this is heavy in mid/late-1980s look and inspiration. The track itself is actually a pretty old-fashioned, up-tempo R&B number, again recalling the mid-1980s…

Except then it suddenly changes and goes even more old school. Not the song, but the video, as we begin to do a bit of time travel.

Each round of the chorus comes with a key change, and soon the day-lit dance studio becomes a nightclub, with everyone in gold suits… 

Then there’s another change to a white suit… 

And finally black with top and tails, at which point she rips her pants off for a bit of extra leg room and dance power… 

Then we cut back to reality again as a pose is held, suggesting the other costumes/sets were all flights of imagination inspired by the growing power of the song. Nice touch!

So we end with B wrapping things up and walking off, her love now firmly “on top”. Like a boss…

Another strong, engaging clip, packed with fun dancing and a heavy retro feel. Even if this song isn’t my favourite off the album (I think it lacks the emotional impact of a couple of her ballads) it’s still eminently watchable.

Enjoy it below…