In an era of music production that often feels like a race to the most complex and layered, there is something refreshingly direct about a simple song.
A song that doesn’t try to be a symphony, a statement, or a sonic revolution. A song that is, at its core, a message from one person to another.
“Honey, Hi,” the latest single from the Brooklyn-based musical project Side Bangs, is precisely that kind of song.
It’s a warm, inviting piece of music that feels like a comfortable conversation with a close friend, a feeling that is both familiar and increasingly rare.
Side Bangs is the creative outlet for Stephanie Rodgers, a singer, guitarist, writer, and producer.
The project has been known for a more-is-more approach to its sound, a style that has been described as belonging in movies. With “Honey, Hi,” Rodgers has taken a deliberate step in a different direction.
Recorded in her bedroom studio, the track is a testament to the power of restraint. The maximalist tendencies are gone, replaced by a hypnotic and intimate arrangement that allows the song’s core sentiment to shine through.
This is not a grand, cinematic declaration of love, but a quiet, personal one.
The song opens with a simple, questioning invitation:
“Why don’t you sit down beside me
Give me something more than a wink,
Wanna get lost in all the ways you think.”
The lyrics are straightforward, a series of gentle suggestions that build a picture of a comfortable, easy intimacy. Rodgers’ vocal delivery is soft and conversational, drawing the listener into the personal space of the song.
The repeated hook is less a demand and more a joyful affirmation, a playful and confident expression of affection.
“Honey, hi
Got what you want
Come and get what you want”
The production of “Honey, Hi” is a study in effective minimalism. The hypnotic melody, carried by a clean guitar line, is the central focus.
The rhythm is steady and unobtrusive, providing a gentle pulse that moves the song forward without overwhelming the vocals.
The mix, by Denise Barbarita, and mastering, by Alan Silverman, are both expertly handled, preserving the bedroom-recorded feel while ensuring a clean and professional sound. The result is a track that feels both homespun and polished, a difficult balance to strike.
It’s interesting to consider “Honey, Hi” in the context of a painter like Giorgio Morandi, who spent his life painting arrangements of bottles and vases. Morandi’s work is a celebration of the subtle variations in light, color, and form found in everyday objects.
He found a universe of expression in a limited subject matter. In a similar way, Rodgers has found a rich vein of emotion in the simple, direct language of a love song. By stripping away the layers of production, she has revealed the essential beauty of the song itself.
The comparison might seem a stretch, but both artists demonstrate a dedication to finding the profound in the seemingly simple.
The song’s structure is as uncluttered as its production. The verses build on the theme of shared experience, from ordering a pizza to sleeping in with “tangled thighs.” These are not grand romantic gestures, but the small, everyday moments that form the foundation of a real relationship.
The song’s charm lies in its relatability. It’s a reminder that love is often found not in the dramatic crescendos, but in the quiet, comfortable spaces in between.
In the final section of the song, the refrain shifts slightly to a subtle but significant change, a move from a playful invitation to a clear statement of desire. This shift gives the song a sense of progression, a small arc that adds to its emotional weight.
It’s a confident and self-assured ending to a song that is, from start to finish, a pleasure to listen to.
“Honey, Hi” is a welcome addition to the Side Bangs discography. It showcases a different side of Stephanie Rodgers’ musical personality, a side that is quieter, more intimate, but no less compelling.
