That rush is what inspired her to make "yes baby," which she calls the closing bracket in an unintentional trilogy: "Make You Mine," "15 Minutes," and now this. All three lean into euphoric EDM textures, and together they form a bridge between the past few years of experimentation and what she calls "album world." The yet-unannounced project, long speculated by her fanbase, won't be a straightforward dance record. "My album isn't really a dance album," she says. "It's a straightforward pop record."
The decision to lead with a club banger was hers alone, part of a broader recalibration in how she approaches her artistry. Earlier this year, Beer deleted Twitter, a platform she had been glued to since the start of her career. "It was negatively impacting my ability to see my own artistic direction clearly," she admits. "Deleting Twitter has actually helped me feel more connected, not less." Rather than sifting through thousands of conflicting fan opinions, she now interacts with listeners in more focused ways: Twitch streams, Instagram Lives, and most importantly, on tour, where the feedback is visceral and immediate.
That confidence also extends to her voice. Once weighed down by people who questioned her vocal chops, she's no longer concerned with proving herself. "If you don't think I'm a singer, come to a show. The mic will be on," she says with a smirk. It's a statement that lands as both playful clapback and mission statement: Beer is less interested in winning over skeptics than in doubling down on the people already screaming her lyrics back at her.
"'yes baby' felt like the right way to start this all," she says, positioning the track as a glittering bookend to her EDM phase and a prelude to the fuller creative universe waiting just around the corner.
We sat down with Madison to discuss carving her own lane in pop, why she isn't chasing trends, and how "yes baby" bottles the chaos of her live shows.