Her amalgamation on the past two albums is both single-minded, sounding like nothing very recognizable - especially on LEMONADE - steeped in more gritty sonics and retro influences than any pop album in some time. To younger audiences no doubt, Beyoncé - moving toward legacy status - will not be as much of a draw as a Drake, who siphons in modern pop and street hip-hop trends, speaking to millennial interests more than Beyoncé. But Beyoncé’s success manifests itself in a different fashion than her “pop diva” peers - from fellow TIDAL-beholden vet Rihanna to Katy Perry to even the all-dominant sales behemoth Adele.

She’s an expert at whip-smart marketing and making her recent albums more available over time (She waited over a year to serve her 2014 self titled to Spotify). The most recent surprise point of comparison? Despite the sales hype, Drakes Views from the 6 is slated to sell almost twice as much in its first week as LEMONADE the Toronto rapper/singer’s album outsold Bey’s first week in just one day.

Even her album sales stats, though shes been able to reach #1 with all six of them, have been dwarfed by many of her contemporaries. With the exception of a few ubiquitous singles, her songs generally perform modestly on a commercial level.

Over the course of her career, Beyoncé has become less and less of a chart topper outside of the albums sphere. Her auspicious 13-year tenure on the Top 40 as a solo artist speaks volumes for the interest her every move generates, and for her music’s superior quality - backed by endless drove of great supporting artists, songwriters and producers who would give an arm and a leg to work with her.īut the numbers have never really supported the Queen conclusion. She is regarded by many as the de facto Queen of Pop. Yet the album’s commercial performance, and that of its songs in its first week, points to a curious truth about Beyoncé.

Views from the 6 album sales