Believe it or not, but we do quite like Honey Dijon here at Ears To The House. Unlike a lot of DJs on the scene today, Dijon – real name Honey Redmond – has worked hard to get to the top and brings a real energy to her sets. Her work ethic is certainly one many could learn from – and given the five figure fees she now commands, perhaps that’s just as well.

There is also absolutely nothing wrong with being proud of her association with Beyoncé Knowles. Last year, Knowles released an album called “Renaissance”, and Redmond contributed to two tracks on it. Indeed, she was one of those who provided remixes for “Break My Soul” – with Terry Hunter and Nina Aviance also on the bill.

Our preference at Ears To The House HQ was for Terry Hunter’s interpretation, clearly inspired by the work he did as part of the UBQ Project remix duo in the 1990s – but Dijon nonetheless turned out something equally respectable, if not slightly more commercial. But we digress.

This week, Redmond has been reminding the world once again of her work with Knowles – pointing out she helped write two songs on her recent album. Here’s the Instagram post in question…

There is, however, one thing which we’ve been thinking about for a while. Over the past few months, Redmond has posted numerous times on this subject – but one thing remains conspicuous in its absence. Namely, a photograph of her posing alongside Beyoncé Knowles.

We don’t query this from a place of malice – we’ve been looking at the social media profiles of other people associated with this album, and we’re seeing a similar story there as well. Given the lack of any pictures of Knowles alongside these names in the house music world, Ears To The House poses the following two questions…

• Has Beyoncé Knowles ever physically met Honey Dijon – or any of the other names from house music whose name is associated with the Renaissance album? And if she has, why did no one apparently think to document these moments for posterity?
• If Knowles has indeed never Honey Dijon or any of the other names involved, why not? And doesn’t this make a mockery of the journalistic spiel at the time that this album was a homage to house music and its roots within the gay community?

We suspect we could be in for a long wait for answers to these two…