Consequence‘s Song of the Week series highlights the best new releases of the week. Find these new favorites and more on our Spotify Top Songs playlist, and for other great songs from emerging artists, check out our Spotify New Sounds playlist. This week, we’re spotlighting Beyoncé’s ongoing renaissance.
A renaissance is a reawakening; a time of rejuvenation, where the old makes way for the new. A renaissance often doesn’t have a clear beginning or end, and, though in the case of Beyoncé’s ongoing renaissance, it would appear we’re still smack in the middle. Beyoncé described 2022’s RENAISSANCE as the first installment in a three-part series. The love letter to house and ballroom culture, and particularly the Black artists in these spaces, was another demonstration of her musical intuition — if she’s taking on a genre, she’s going to embrace it to the fullest.
With the premiere of her new documentary Renaissance: A Film by Beyoncé, she also shared “MY HOUSE,” an all-new surprise track that accompanies the movie’s credits. While the ultra-futuristic chrome aesthetic that defined her most recent tour remains, “MY HOUSE” peels back some of the dance and house elements to incorporate the big, brassy touches that characterized Beyoncé’s earth-shaking performance at Coachella 2018. She and longtime collaborator The Dream are the only two names credited on the track.
Queen Bey has a knack for taking a truly wild beat — think the basis for “Single Ladies” — and not just making it work, but making it iconic. Such is the case again with “MY HOUSE,” which also takes some major tonal swings, from the swaggering confidence of “I’m done savin’ this money, tonight we gon’ ball out” to her appeal for self-confidence on the part of the listener. “I will always love you, but I will never expect you to love me before you love yourself,” she cries. The name of the song itself is also a clever nod to the very genre in which she has so rigorously immersed herself.
The thesis of “MY HOUSE” is two-fold: first, she’s going to throw one hell of a party, and everyone is invited — but when it’s over, it’s over on her terms. Second, she wants her renaissance to be a jumping-off point for healing, and once we leave her orbit (as she insists we do), the joy and growth doesn’t have to end. “Let’s heal the world one beautiful action at a time/ This is real love,” she promises. Eventually the lights are going to come on, but as long as this renaissance continues, we have no reason not to believe her.
Honorable Mentions
CONNIE – “TRBO” with Rizz Capolatti
A futuristic beat from breakout producer Connie, with each sound about as far removed from instruments as you can get, provides the perfect stage for Atlanta rapper Rizz Capolatti to flex his skills. The distorted beeps and electronic stabs give Capolatti ample room to dip in and out with his slick flow. Sticky and catchy while being almost alienating in how distinct it sounds from the typical trap scene, Connie keeps his hot streak since his breakout with 2021’s “DIVE IN!” by Jeleel with this Star Trek-style banger. The LA-based producer shows us why he and Capolatti are two names to keep an eye on into the new year. — Aidan Sharp-Moses
Ducks Ltd. – “Hollowed Out”
Following the announcement of their upcoming LP Harm’s Way, Canadian indie rock band Ducks Ltd. have come through with their new single “Hollowed Out.” With glistening guitars and the light drums keeping the track going at a relaxed pace, the song’s pretty production helps to cushion the dark reality of the lyrics. “A slow retreat/ Through same old scene forever/ Darker at the city’s seams,” vocalist Tom McGreevy sings, sounding resigned and at peace with the emptiness that he has been left with. A pretty song about a not-so-pretty feeling, this fantastic track will keep you wanting more all the way until the album releases. — A. Sharp-Moses
Dweller – “Hollow”
It’s a bit ironic that a song focused on a crumbling relationship is actually the product of a newly-formed collaboration. Georgia Harmer and Julian Psihogios have joined forces with Kris Ulrich and Dylan Macdonald (also know together as Field Guide) for a project known as Dweller, and the four of them are introducing themselves with a fresh, self-titled EP. Despite the disquiet in the subject of this particular song, there’s a natural sense of camaraderie woven into Dweller’s sound — organic instrumentals, easy vocals, and homespun warmth. — M. Siroky
