Beyoncé – My House Review

Being aware of Beyoncé and knowing their songs are two completely different playing fields. Kept out of popular music and shying away from the recent boom of concert tours – a way to cash in on those who were unlucky enough to miss out on overpriced tickets – Beyoncé and the pop chart presenters are doing all they can to bring the most of their material to the most amount of people. It is the way of the modern music cycle and of them all, at least Beyoncé has reason for it. Her musical endurance is a real spectacle and this piece, My House, used as a token promotion of a project elsewhere, is at least fitting and interesting. It does the job of promoting Renaissance yet slips this advert into the background and feels fully formed, expansive and surprising.  

My House maintains the right way to experience Beyoncé is to know as little as possible. Unexpected turns on this one bring a constant blur and whir of hip-hop fundamentals. It works rather nicely. A dominant production which relies on the horns blowing away in the background and an exceptional vocal performance from Beyoncé. An openness and flagrant disregard for those who will discuss her actions in the news the next day – My House has a constant flow and change of pace which feels initially clunky but eventually turns these defiant words into a clear warning to those snooping on her business. It is her house, after all. Her openness on this one is fascinating, and a real thrill is provided by the later call to arms found within this one. Sounds of the revolution? Not quite. But a very good addition to the Renaissance era for Beyoncé.  

Tremendous it may be to have the usual back-and-forth from Beyoncé and longtime collaborator The-Dream, My House feels somewhat aimless beyond its desire to protect the privacy of a public image by making it rather clear where to head. Out the house, then. It comes and goes with effective placements of these house-oriented beats. Beyond it though lies confusion or an element of simplicity which overtakes the possibilities found later in the track. Another spot-check of desires for wealth and a boastful one of diamonds and rings, all the usual bits of filler which build up to the breach of her inner circle. My House feels deeply personal yet exceptionally broad all in one, mainly due to how Beyoncé refuses to name names but knows someone needs a swift boot. 

Therein lies the trouble for My House, though. Its desire to be open is ironically closed off. Beyoncé bills this one as a revolutionary new moment in her Renaissance period but it does not quite take flight. It tries and does not necessarily fail, though there are marks of quality throughout. An enjoyable beat throughout and a repetitive turn which sees the simpler charms of the song flow through, though it is somewhat disappointing to hear the specifics obscured. There is enough detail to aim a fledgling hanger-on of the social circle Beyoncé once held – though her expectation of turning this personal struggle into a world-beating call to arms is a misplaced venture.