Song of the Week: The Beatles Reunite One Last Time for “Now and Then”

Jonah Krueger
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The post Song of the Week: The Beatles Reunite One Last Time for “Now and Then” appeared first on Consequence.

Consequence‘s Song of the Week series takes a look at the latest and greatest new songs. Find these and more on our Spotify Top Songs playlist, and for our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, The Beatles have a new song (no, really), “Now and Then.”

In the 12-minute mini-documentary for what’s being billed as ‘the last/lost Beatles song,” Paul McCartney and company spend a noticeable amount of time justifying their actions, assuring fans that John Lennon would have given his blessing. Whether this was a response to the mild backlash that arose when he first revealed they were utilizing artificial intelligence to complete the recording, a way to separate themselves from the more sinister-feeling posthumous releases, or merely an honest gesture for the late Lennon and George Harrison, it’s a sentiment that they didn’t need sell so hard. Should “Now and Then” truly be the last the world hears of The Beatles, it’s a fitting, touching, and respectful sendoff for the band that was bigger than Jesus.

For a song with a uniquely anachronistic history, “Now and Then” sounds remarkably well put together. The tune pretty seamlessly meshes Lennon’s original 1979 demo, Harrison’s guitar tracks from when the band initially attempted to finish the song in 1995 (but abandoned it do to a distracting hum on Lennon’s tape), and McCartney and Ringo Starr’s modern contributions. Hell, there are even samples from “Here, There and Everywhere,” “Eleanor Rigby” and “Because” thrown in for good measure. It’s somewhat of a roundabout way to reunite the Fab Four, but the results are magical for anyone invested in the band (everyone, I should have just said everyone).

The tune actually feels like a Beatles song, which is a small miracle in its own right and should come as a sigh of relief for those concerned about the band’s use of AI. McCartney and his team tapped the same tech Peter Jackson used for Get Back to separate the singing and piano playing found on the original demo tape and get rid of the blasted humming. Finally, the song could be finished.

Lennon’s voice is given room to breathe with a litany of other Beatles signifiers backing him up. There are strings that sound straight out of their Revolver era, a Harrison-style slide guitar solo, and those trademark Beatles harmonies. By design, it doesn’t come across like a long-lost cut from Help!, Sgt. Pepper’s Lonely Hearts Club Band or Let It Be. Rather, it’s simply tapping into the essence of what The Beatles were. It’s the band as you remember them — and that’s the mark of a great swan song.

So, is “Now and Then” going to topple the countless classics from the band’s original run? Not quite. But it is successful in its attempt to revive the spirit of the band for one last go-around; asking for anything more just seems greedy. “Strawberry Fields Forever” and “Something” will always be there; for now, let yourself get lost in the wonder that is a new Beatles song in 2023.

— Jonah Krueger
Editorial Coordinator

Honorable Mentions

Hotline TNT — “Stump”

“Stump,” the finale of Hotline TNT’s new album Cartwheel, helps bring the record to a stunning end, complete with reverb-soaked vocals that soar over top of fuzzy guitars and pounding drums. The chorus ramps up the noise and showcases the band’s shoegaze influences before calming back down into a dreamy bliss for the verses. With frontman Will Anderson singing about getting his heart stolen, this gorgeous track takes you floating through the skies, has you dancing among the clouds, and marks the band as an indelible slice of the modern indie scene. — Aidan Sharp-Moses

Lucky Daye – “That’s You”

If Lucky Daye’s new single strikes you as a song that could’ve been included on Silk Sonic’s last record, you’re not wrong — “That’s You” was co-written and co-produced by the one and only Bruno Mars. Daye absolutely belongs in this sticky-smooth R&B space, and the utter yearning he’s able to communicate through his voice alone is striking. “That’s You” is as emotive as it is catchy. — Mary Siroky

Mach-Hommy — “No Golden Calf” (feat. Tha God Fahim)

Coasting over a silky smooth beat featuring a looping saxophone sample, Mach-Hommy returns for his first release since March with a suave track featuring Tha God Fahim. Stripping back his sound to a simple, almost Alchemist-esque jazz-inflected vibe, he glides over the track with assistance from his long-time collaborator, who chimes in to inject energy that contrasts Mach’s laidback, nonchalant flow. As mysterious as always, it’s hard to know exactly what he is rapping about, but it’s even harder not to hit replay once the joint wraps up. — A. Sharp-Moses

Momma — “Sunday”

It’s always a treat when bands cover each other — in this case, indie rockers and former Consequence CoSign Momma has traded tracks with heavy shoegazers Narrow Head, with Momma offering their rendition of “Sunday” and Narrow Head putting their spin on “Medicine.” The original “Sunday” was already a wash of relief, but Momma add even more softness to the track. They channel the same anthemic chorus, but add a touch of harmony to the refrain’s final line that imbues the song with brightness. Even in the mess of distortion and the pummeling drums, Momma provides clarity — a testament to their soothing, electrifying talents. — Paolo Ragusa

Narrow Head — “Medicine”

It’s always a treat when bands cover each other — in this case, heavy shoegazers Narrow Head have traded tracks with… wait, I just got the strangest sense of déjà vu.

Narrow Head takes on “Medicine,” a standout from Momma’s excellent Household Name, retaining the earworm melodies and tasty licks while throwing even more fuzz on their guitar tracks. It’s a rendition that both reveals the strength of the original tune and the talent of Narrow Head. Here’s to hoping they do “Lucky” next. — J. Krueger

Sun Room – “Cut My Hair”

There’s something instantly transportive about music from Sun Room, the merry band of surf-rock revivalists out of (where else?) Southern California. Their latest, “Cut My Hair,” is built on a a clear 1950s foundation, but kicked up a few notches — it’s louder, it’s faster, it’s more chaotic. It makes you want to twist and shout on a beach, but also makes you want to head bang a little. It’s November, but summer feels never-ending with these guys around. — M. Siroky

TORRES — “I got the fear”

TORRES has come out with a lonely new single, “I got the fear,” featuring sparse instrumentation that evoked a deep feeling of isolation. Released alongside a retro music video that places the singer inside what looks like a broken VHS tape, the song finds her alone in the dark while she sings about living in fear and struggling with anxiety. Despite all of these troubles, she manages to find solace in the ones close to her. “And the dread doesn’t pay any rent money/ But as long as it doesn’t get ahold of my honey/ Think I’ll be alright,” she sings, holding close to what keeps her grounded on this indie rock gem. — A. Sharp-Moses

Wisp — “Once then we’ll be free”

San Francisco shoegazer Wisp has returned with a moody new single, “Once then we’ll be free,” a dreamy demonstration of her command of dynamics and atmosphere. The song’s thick air and Wisp’s feather-light vocals are hazy and ethereal, but it’s actually the irresistible two chord bass riff and playful drum beat that keeps “Once then we’ll be free” in active mode. It’s more fraught than it is liberating, but the song makes it clear that Wisp knows exactly when to hold tension and release it. With only three songs out, Wisp is building out quite the consistent catalogue. — P. Ragusa

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Song of the Week: The Beatles Reunite One Last Time for “Now and Then”
Jonah Krueger

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