IIn mid-June, hip-hop mogul Drake had a surprise: his seventh studio album, Honestly, it doesn’t matter, It will drop the next day.Those who hit “play” are getting another revelation: Drake is often a trendsetter in pop music thanks to his voracious appetite for the next big thing, with his syncopated beats and heavy beats Sing of his heartbreak and hatred
Fast forward a weekend, and Beyoncé, a similarly pop icon, released
first single regeneration, her seventh album. ‘Break My Soul’ is fueled by persistent synths
And the feeling that the world is closing, Beyoncé ‘finds’ a new foundation/me
on that new vibration. “
read more: Everything we know about Beyonce’s new album, regeneration
Two of the most important musicians in pop are moving in similar musical directions, which may be a far cry from the officially observed trend, but it’s worth noting. House music has been a force in pop music since its rise from underground clubs in the ’80s, but the genre’s influence has waned slightly in recent years. Even at its most optimistic, house’s pounding beats and fragmented instruments evoke images of dimly lit, sweaty clubs with people close to each other — the perfect near-apocalyptic setting, like Beyoncé in “Break My Soul”, to “find something that lives inside me”.
House music started as a reaction to flashy instruments and disco pop. In its earliest form, it was machine-like at its core, underpinned by a lengthy track based on a steady rhythm known as the “Four on the Floor,” which would never be in a broadcast edit. survived. DJs like Chicago club guru Frankie Knuckles will home-mix songs live, mixing and editing beats from his own various record collections.
As house music grew in popularity, it moved from black, queer spaces to whiter, straighter spaces, and it enjoyed some big moments on the pop charts in the ’80s and ’90s. Robin S’ “Show Me Love,” sampled on “Break My Soul,” hit No. 5 on the Hot 100 in 1993; other ’90s tracks like Black Box’s edgy “Everybody Each” and Crystal Waters’ ” 100% Pure Love” jumped from the dance floor to the top 40. Pop superstars also dabble indoors: Whitney Houston’s triumphant cover of Chaka Khan’s “I” ‘m Every Woman’, as well as Madonna’s brisk “Deeper and Deeper” and Janet Jackson’s bouncy “Together Again,” showed they were sharp Be aware of the voice from the club.
read more: The best songs of 2022 so far
Dance music has been an integral part of popular music since the days of Twist and the Stroll. Since its breakthrough, House itself has spawned many sub-styles, including variants rooted in specific locations. A few years ago, tropical house — a descendant marked by sun-dappled synths and lighter beats — emerged from the EDM festivals of the mid-2010s, with artists like Norwegian DJ Kygo making their way through collaborations with the likes of Celine Na Gomes.
It may be premature to announce that all pop music will be replaced by House’s hard-hitting beats. But these songs, along with the recent efforts of pop futurist Charli XCX and superstar DJ David Guetta, suggest that the pop landscape in 2022 is certainly more prone to change than previous years — blamed on pandemic-era fatigue.Beyonce’s comeback song doesn’t necessarily portend how regeneration Will Sound – Six years ago, the simple bounce trap clip “Formation” didn’t necessarily reflect a broad sound palette lemonade. But the lyrics of “Break My Soul,” which included the complaint “Damn, they made me work too hard,” continued the trend of combining club-ready beats with lyrics expressing broader existential despair.
Take Bad Rabbit’s latest album, for example, United Nations Villano Cinti, Blends voices from around the world, especially his native Caribbean, while questioning power structures and their abuses.Or “About Damn Time,” the lead single from Lizzo’s new album special; It’s a sizzling, rink-ready denunciation of the blues, the singer-rapper-flutist trying to beat depression with an uplifting spell (“I’m too good to be this big pressure”). From The Beatles’ “Eleanor Rigby” to Outkast’s “Hey Ya!”, some of the most catchy pop songs hide messages of despair and longing in their candy-like structures, but compared to the current club style, The contrast seems even stronger – get ready to hit.
This may be due to the way pop stars can become stars these days. A shift in the way music is promoted and distributed means they don’t need the support of radio stations to scale. As a result, they were able to speak and sing more freely—and since the charts took streaming numbers into account more, listeners’ responses were more immediately noticed. Bad Bunny’s availability on streaming services makes his appeal, fueled by his overwhelming charisma and honesty about his personal and political stances, obvious to chart watchers: Un Verano Sin Ti and its predecessor, the 2020s El Ultimo Tour Del Mundo, All hit first billboard 200. He was also the star of the stadium this summer.
Beyoncé’s recent career illustrates this in a slightly different way. Although she’s been considered one of the biggest pop stars in the world for almost all of the 21st century, she’s only had two hit 100 hits since her dominance in the ’00s – 2017 with Ed Sheeran Collaboration on “Perfect Duet,” and 2020’s “Savage Remix,” “You Stallion with Meghan.” (“Break My Soul” has reached No. 7 at the time of writing.) But she’s still available with the upcoming release The album makes the earth move; lemonade It was bought and played by enough consumers to make it the fourth biggest album of 2016.
The pop landscape continues to be unpredictable thanks to TikTok’s hit-making prowess and the power of good TV sync – who has Kate Bush’s “Running Up That Hill” in the 2022 summer song pool? — Drake and Beyoncé’s Return to the clubs provides an unexpected tonic for listeners looking to jump out of their fears. Separated but somehow, the two used their considerable pop power to illuminate one of the fundamental genres of modern pop, directing audiences to its powerful, body-shaking rhythms.
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