Billy Porter’s Black Mona Lisa is a liberating celebration of individuality, queerness, and reinvention

Over the last 30 years, Porter has proven himself as a trailblazer who can turn his hand to almost any artistic endeavour. On Black Mona Lisa, the Grammy winner gleams brighter than ever, as he champions his soul and gospel roots within pristine pop cuts.

As an openly gay Black man, Porter has faced notable adversity throughout his career. Brilliantly bold and equally endearing, “Broke A Sweat” is not only a testament to his survivorship, but also a valiant bite-back at those who dismissed his first attempt to conquer the music scene in 1997. “Told you winners write the history / Baby I win!” he rightfully boasts. This quintessence of unbridled self-belief continues to flourish in the record’s title track. Armed with unrelenting vocals and brash horns leading the post-chorus, it’s a defiant reclaim of power – one that gives us three minutes of pure ecstasy.

Porter’s freedom for expression only blossoms as the body of work continues. After years of his sexuality being weaponised against him, “Not Ashamed” sees the outspoken star celebrate his identity. Between an irresistibly bouncy bassline and colourful beats, there’s a prevailing sense of empowerment that shines through here. It quickly becomes clear that Black Mona Lisa is as much a call for others to live their truth as it is a personal account of Porter thriving in his. Funk-laden “Baby Was A Dancer” leans into the joy of authenticity, while “New Shoes” is a feel-good disco anthem ready to light up any dance floor.

Whether it be through his renowned acting repertoire, that is currently only an Oscar away from an EGOT, or his (nothing short of fabulous) red-carpet outfits, Porter continues to find new ways of actualising his creative vision. On “Audacity,” the Broadway talent pays homage to his theatrical origins. Employing a powerful transparency from the opening line (‘’When I was a kid, silence was my self-defense / Fear was my default, anger was my first call.”), the four-minute behemoth places intensely introspective lyricism amidst a landscape of string-heavy production.

Closing out the record is none other than the gospel-infused masterpiece that is “Children (What Time It Is)” with Lady Blackbird. While the original track sees Porter’s transcendent vocals float above an undercurrent of symphonic instrumentation, the later rendition adds yet another dimension to the piece. Showcasing the pair’s immaculate harmony, it’s a stunning statement of solidarity with the queer youth of today – and a sensational finale.