Lizzy McAlpine’s rendition of “House of the Rising Sun,” originally popularized by The Animals in 1964, introduces a unique play on storytelling that transforms a folk song into something strikingly intimate.

The song itself predates The Animals’ recording, tracing back to traditional American folk and evolving through oral storytelling across Appalachia. The folk song’s lyrics and perspective shifted as it passed through generations. Some versions were sung from the viewpoint of a woman, some from a man and others framed the “house” as a gambling den, others as a brothel. 

Its ambiguity is interesting — for a song to have endured so long through time, one would expect its interpretation to have solidified. However,  its inability to settle into a single perspective is what has allowed it to endure and continue to be reshaped by the many artists who have reinterpreted it over the years.  

Often depicted as the grief of a life undone in New Orleans, the narrative has previously relied on dramatic instrumentation to communicate regret. The Animals’ version, with its compelling organ and steady rhythm, emphasizes grandeur, making the tragedy feel almost theatrical.

McAlpine approaches the song from the opposite direction. Rather than leaning into spectacle, she breaks apart the song’s structure methodically, leaving only what is necessary: “the lyricism, melody and harmony,” she said in a Rolling Stone interview.

As opposed to the iconic 1964 version, the absence of heavy percussion is noticeable from the first note and removes any sense of performance; instead, McAlpine’s vocals are the center of attention. When she sings, “And it’s been the ruin of many a poor girl / And me, oh God, for one,” the notes are delicate but no less haunting a story as she turns inward. 

McAlpine does not attempt to overpower the narrative, nor does she compete with the bravado of earlier renditions. Instead, her tone remains soft but strong and lingering as she transforms “House of the Rising Sun” into something more digestible. 

With the use of an acoustic guitar and hushed ambience, listeners are urged to pay closer attention to the lyrics. 

This choice is not accidental. The hint of melancholy has long served as a defining feature in the artist’s discography. With earlier songs like “ceilings” and “erase me,” she has built a reputation for expressing her emotional vulnerability through diaristic songwriting. 

McAlpine’s music often portrays sadness through contemporary situations, including breakups, personal growth and introspection, whereas “House of the Rising Sun” utilizes storytelling. 

When she approached this folk song, it was not as a cautionary tale meant to dissuade individuals from the narrator’s fate, but as a diary entry. 

By covering this song, McAlpine adapts the song to her own artistic language. 

McAlpine’s cover first gained attention when it was featured in season three of “School Spirits,” where she appeared on-screen performing the song as a character named Joyce Ball in a flashback scene. Her friend and co-star Milo Manheim helped bring her into the show and her performance was praised on set for its emotional weight.

The song was later released on streaming platforms on Jan. 30, after which it quickly circulated across TikTok and Instagram. 

Fans of McAlpine and the show adored her cover, and some have uploaded their own videos singing McAlpine’s rendition. 

For many, the cover reintroduced a familiar classic that younger generations could connect to and portrays how centuries-old folklore can inspire new emotions, not because its story has changed, but because its sorrow has been unmistakably human.