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2018 GRAMMYs Poll: Who Will Win Best Dance Recording?

Nominees For Best Dance Recording, 60th GRAMMY Awards

Photos: WireImage.com

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2018 GRAMMYs Poll: Who Will Win Best Dance Recording?

Bonobo, CamelPhat & Eldrebrook, Gorillaz, LCD Soundsystem, and ODESZA are the 60th GRAMMY nominees for Best Dance Recording — who will the GRAMMY voters choose as the winner?

GRAMMYs/Jan 4, 2018 - 12:58 am

Since first being awarded at the 40th GRAMMY Awards, the Best Dance Recording category has recognized tracks by artists as varied as Janet Jackson, Daft Punk, Lady Gaga, Skrillex, and the Chemical Brothers.

The five tracks nominated this year include first-time nominee Bonobo’s “Bambro Koyo Ganda,” featuring Innov Gnawa; first-time nominees CamelPhat & Elderbrook’s “Cola”; Gorillaz’s “Andromeda,” featuring DRAM; LCD Soundsystem’s “Tonite”; and first-time nominees ODESZA’s “Line Of Sight,” featuring WYNNE & Mansionair.

With such a stacked class of nominees, who do you think GRAMMY voters will choose as the winner for Best Dance Recording at the 60th GRAMMY Awards? Cast your vote now!

The 60th GRAMMY Awards will take place at Madison Square Garden in New York on Jan. 28, 2018, airing live on CBS from 7:30–11 p.m. ET/4:30–8 p.m. PT.

Bonobo's Favorite Productions: Phone Recordings, A '20s Bulgarian Choir, Moroccan Gnawa Music & More
Bonobo

Photo: Grant Spanier

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Bonobo's Favorite Productions: Phone Recordings, A '20s Bulgarian Choir, Moroccan Gnawa Music & More

In celebration of his 2023 GRAMMY nominations and many contributions to electronic music, producer, DJ and musician Bonobo reflects on his favorite productions.

GRAMMYs/Jan 13, 2023 - 04:37 pm

Los Angeles-based producer, DJ and musician Bonobo is a beat master and sampling champ known for his chilled electronic soundscapes and globally inspired, jazzy rhythms. Listening to a Bonobo album is like going on a guided tour of  a lively market; it’s an expansive, vibrant sampling of sounds and flavors that remains entirely tasty and cohesive.

"I'm always trying to find something to be excited about," Bonobo tells GRAMMY.com. "If that's a new way of doing stuff; like working on samplers to working on Ableton, to now working with modular synths. There's always got to be an element of exploration, that intrigue is what keeps it exciting."

The Brighton-born artist dropped his seventh studio album, Fragments, at the beginning of 2022, its ocean of emotions born during the early days of the pandemic. Fragments is currently nominated for Best Dance/Electronic Music Album and its lead single "Rosewood" is up for Best Dance/Electronic Recording at the upcoming 2023 GRAMMYs.

Now with a total of seven GRAMMY nominations, Bonobo has reached another career pinnacle. Yet his roots remain ever-relevant and ripe for a revisit, with each release unfurling new movement and exploration.

After a few singles and EPs, Bonobo dropped his trip-hop-leaning debut full-length, 2000's Animal Magic, and signed to legendary U.K. dance label Ninja Tune the following year. He began to introduce collaborators on his third release, linking with German poet and vocalist Bajka on 2006's Days To Come. 2010's Black Sands further expanded Bonobo's sonic world through the introduction of live instrumentation in studio and onstage. 

Bonobo's global travels inspired 2013's The North Borders — which opens with the enchantingly  moody "First Fires" and features the standout "Heaven for the Sinner" with Erykah Badu — and and he brought a nomadic energy to the aptly named 2017 project Migration.

He has since settled in Los Angeles and, as with many touring artists, spent his longest period at home in 2020. The result was Fragments, which was recorded during lockdown with virtual collaborators Jordan Rakei, Jamila Woods, Joji and Kadhja Bonet. We’ll have to wait to discover what’s next in Bonobo’s sonic world, but the energetic non-Fragments singles he released in late 2022 may be a taste.

In celebration of his 2023 GRAMMY nominations and his many contributions to electronic music, Bonobo reflected on some of his favorite productions. Calling in from Lithuania at the tail end of his massive Fragmentstour, Bonobo broke down some of his most beloved tracks from his discography — including his all-time favorite production.

"Rosewood"

(Fragments, 2022)

"Rosewood" was the last one, it was kind of the missing piece of the record [Fragments]. It was from this iPhone recording that I had of me just messing around on the piano in my house, from ages ago….which is the main loop. And then I started adding kick drums and other elements on it. The basis of it had this almost Nina Simone "Sinnerman" kind of feel.

For "Rosewood," I was going for classic Detroit-y house. I was listening to Theo Parrish and Kerri Chandler and that percussive, loop-based kind of house music. That was the mood, at least.

"Otomo" with O'Flynn

(Fragments, 2022)

I was working with a sample that I'd found from archives of a Bulgarian choir that was recorded in the '20s. That was the main part of the song. I was messing around with that and harmonizing it and trying some chords. This was at the time when you couldn't get in the room with people and I was stuck on how to structure the song.

I like the way O’Flynn switches between very melodic stuff and big percussive stuff, so I was thinking that maybe he was the person to get this one to the finish line, which he did.

"Otomo" is named after Katsuhiro Otomo, who is the creator of [the manga and 1988 animated film] Akira. I liked the mix of the choral and percussion sounds from Akira and that was an influence for “Otomo.”

"Heartbreak" with Totally Enormous Extinct Dinosaurs

(Heartbreak/6000 Ft., 2020)

The Class Action sample [1983's "Weekend"] was a Paradise Garage classic. "Heartbreak" is a homage to a few different eras of dance music, having that throwback to '80s disco, that '90s breakbeat and something more contemporary as well. It's a real patchwork of different dance floor eras.

I collabed with Orlando [Higginbottom a.k.a.], Totally Enormous Extinct Dinosaurs. He had the palette of the tune already and I came in and arranged it and added the vocal, which fit quite nicely.

There are a lot of classic drum breaks in there, little nods to the era of '90s rave and breakbeat and drum and bass. For the synths and other sounds, it's actually a lot of chopped up — micro-chopped — samples. A lot of it is sample-based.

"Brambro Koyo Ganda" with. Innov Gnawa

(Migration, 2017)

That one I started as a kind of loop. I was messing around on a Rhodes piano. The drums were a big part too. I added a sample of a Moroccan Gnawa recording from the '70s, I think, but I realized it would be more interesting to record [something new instead]. I knew of these Gnawa players that are based in Brooklyn [Innov Gnawa], so we went to a studio in Greenpoint [Brooklyn] and recorded.

That group is great and ended up coming out on tour with us for a bit. It was this big, impactful dance floor moment, and then having that extra element — Moroccan Gnawa music is ceremonial music, so it was a version of traditional songs but they changed the lyrical narrative to something a bit more secular.

I discovered Gnawa music from spending time in Morocco. I really like that style of North African music. Besides being in Morocco, it's something I listen to a lot anyway. I recorded a lot of music with Innov Gnawa, there are a few other tracks we did. There were also different, longer versions of the single. A good amount of that session was expanded and extended and is out there.

"Heaven For The Sinner" with Erykah Badu

(The North Borders, 2013)

I had that tune for a while, it was just an instrumental. I met Erykah through a project she was doing with Mark Ronson. "Heaven For The Sinner" was the last piece on North Borders. She was in Dallas and I was in New York, and she recorded little bits; she'd do about one line a day over a long course of time, so it was taking the idea she had for the tune and piecing it together. It was an assembly of various recordings.

[I didn't change the instrumental] too much because I'd already left a lot of space for her voice. Mostly when I'm working with vocalists, the track is fairly complete.

She joined us for a few tour dates. At the San Francisco show, we did a version of that song and of "Bag Lady" — it was a beautiful, magical moment.

"Eyesdown" with Andreya Triana

(Black Sands, 2010)

I was living in London at the time [and] I was very immersed in what was happening in London around 2008, 2009, which was sort of the post-dubstep scene with [the club] Plastic People and [one of its club nights] FWD>>.

That tune was just a beat, really. My friend came over and listened to some stuff I was working on. I played him the instrumental for "Eyesdown" and he was like, "Wait, what was that one?" I was surprised that was the one that he liked, it was something I could've thrown in the trash at any point. But he was like, "Yes, that’s the one!" I was all, "Oh s—, okay. I'll work on it."

The cherry on top is Andreya's vocal, which is actually just one line repeated a few times throughout the track. I produced her first album; we were spending a lot of time working on her record in my studio. Once we were working on her record, it was a case of me asking "Do you have any ideas for this song?" So we were doing vocal takes for Black Sands at the same time we were making her record. We had a year long of working together a lot.

"Between The Lines" with Bajka

(Days To Come, 2006)

I think that actually started out as a remix for someone else, and I was like, "Nah, you're not having that" and ended up keeping the beat. I was really happy with that one. I'd been working with Tom Chant who's a woodwind player. He did the intro, that really strange sound, which is made with a technique he has of playing the alto saxophone with the end on his leg; it has insane harmonics. We were recording together a lot at the time. He also recorded the saxophone parts on Black Sands.

It was that very simple, heavy beat and some of those weird saxophone harmonics and Bajka's vocal.

"Flutter"

(Dial M for Monkey, 2003)

Oh yeah! That was a sample from one of those big band records from the '60s, these sort of party records. The production on them is insane. It's the build, the tunka tunk tunka tunk, and it just looped up really well. I was like "This is fun" and that was kind of it, it was quite simple. It came together quite quickly, as I remember. It was a fun process making that one. I was in [his hometown] Brighton at the time. But honestly, I don't remember that much because it was such a long time ago.

Erykah Badu - "The Healer"

(New Amerykah Part One (4th World War), 2008)

Ooh, [my favorite production from another artist has] probably got to be Madlib's beats for Erykah Badu's "The Healer" from [2008's] New Ameryka. I think that's my favorite beat that's been made.

Sonically, it's crazy, like nothing I've ever heard. There's a sample from a Japanese prog rock band, and it's all these very quiet sounds against delicate sounds that are very prominent and there's all this incredible stuff going on. Madlib on that beat is one of the most incredible productions I've heard.

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Press Play On GRAMMY U Mixtape: New Year, It’s Poppin'! Monthly Member Playlist

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Press Play On GRAMMY U Mixtape: New Year, It’s Poppin'! Monthly Member Playlist

The GRAMMY U Mixtape is a monthly, genre-spanning playlist to quench your thirst for new tunes, all from student members. GRAMMY U celebrates new beginnings with fresh pop tunes that will kickstart 2023.

GRAMMYs/Jan 6, 2023 - 12:17 am

Did you know that among all of the students in GRAMMY U, songwriting and performance is one of the most sought after fields of study? We want to create a space to hear what these students are creating today!

The GRAMMY U Mixtape, now available for your listening pleasure, highlights the creations and fresh ideas that students are bringing to this industry directly on the Recording Academy's Spotify and Apple Music pages. Our goal is to celebrate GRAMMY U members, as well as the time and effort they put into making original music — from the songwriting process to the final production of the track.

Each month, we accept submissions and feature 20 to 25 songs that match that month’s theme. This month we're ringing in 2023 with our New Year, It's Poppin'! playlist, which features fresh pop songs that bring new year, new you vibes. Showcasing talented members from our various chapters, we felt these songs represented the positivity and hopefulness that GRAMMY U members embody as they tackle this upcoming year of exciting possibilities.

So, what’s stopping you? Press play on GRAMMY U’s Mixtape and listen now on Spotify below and Apple Music.

Want to be featured on the next playlist? Submit your songs today! We are currently accepting submissions for songs of all genres for consideration for our February playlist. Whether you write pop, rock, hip hop, jazz, or classical, we want to hear from you. Music must be written and/or produced by the student member (an original song) and you must be able to submit a Spotify and/or Apple Music link to the song. Students must be a GRAMMY U member to submit.

About GRAMMY U:

GRAMMY U is a program that connects college students with the industry's brightest and most talented minds and provides those aspiring professionals with the tools and opportunities necessary to start a career in music.     

Throughout each semester, events and special programs touch on all facets of the industry, including the business, technology, and the creative process.

As part of the Recording Academy's mission to ensure the recorded arts remain a thriving part of our shared cultural heritage, GRAMMY U establishes the necessary foundation for music’s next generation to flourish.

Not a member, but want to submit to our playlist? Apply for GRAMMY U Membership here.

2022 In Review: 8 Trends That Defined Dance Music
(L-R) Fred again.., Shygirl, Amelie Lens, Black Coffee, TSHA, PinkPantheress, Honey Dijon, David Guetta

Photo: (L-R) Frank Hoensch/Redferns, David M. Benett/Dave Benett/Getty Images, Pablo Gallardo Sanchez/Redferns, Michael Tullberg/Getty Images, Joseph Okpako/WireImage, David Wolff-Patrick/Getty Images, Pablo Gallardo/Redferns, Andreas Rentz/Getty Images for MTV

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2022 In Review: 8 Trends That Defined Dance Music

Dance music was resurgent in 2022, bringing an explosion of energy from underground names and top-line stars alike.

GRAMMYs/Dec 23, 2022 - 04:58 pm

The dance/electronic genre runs wide and deep, encompassing a myriad of subgenres, artists, labels and fan cultures. By any definition, 2022 was a landmark year for the genre, as clubs and festivals returned more energized than ever and a wide spectrum of artists embraced dance music's spirit of collective release.

This year, Beyoncé and Drake turned to house music to inspire their respective albums, spotlighting several dance-music stars like Honey Dijon, Black Coffee, &ME and Rampa as collaborators. There was also a dizzying array of new music within the genre, including years-in-the-making albums from the likes of Flume and Bonobo and innumerable DJ sets loaded with unreleased tracks (or IDs, to EDM-heads).

The genre also thrived in the live sphere, with several dance festivals returning to their pre-pandemic status quo and many stars hitting the road for headline tours, including ODESZA and RÜFÜS DU SOL. In a genre that defies easy categorization, the outpouring of creativity was undeniable. Below, find eight trends that bubbled up in dance/electronic this year, setting the tone for 2023.

House Infused Pop

In a moment of cosmic alignment, two of music's biggest names found their 2022 muse in dance music. Beyoncé went all-in on house, disco and ballroom on her long awaited seventh studio album, which paid thrilling homage to dance music's Black and queer roots. In an all-star cast of collaborators, the singer found a kindred spirit in Chicago house veteran Honey Dijon, who brought her jacking energy to album cuts "Alien Superstar" and "Cozy."

Meanwhile, Drake's Honestly, Nevermind coasted breezy house and Baltimore club beats, with input from the likes of South African superstar Black Coffee, Keinemusik linchpins Rampa and &ME, and Gordo, the artist previously known as Carnage. Summer saw Drake take his own house pilgrimage, turning up at Black Coffee's Ibiza residency and a Keinemusik party in Saint-Tropez. 

As the fog lifted on two years of pandemic life, the back-to-back albums — which both debuted at No. 1 on the all-genre Billboard 200 album chart — pushed house music back into mainstream discourse, and put a shine on lesser-known artists doing the work. 

Artists Respected The Roots

While the work is far from done, this year saw dance music more consciously acknowledge its Black and queer foundations. After exploring the theme with Beyoncé, Honey Dijon delivered Black Girl Magic, a joyous house album that celebrates Black queer identity.

It was also a big year for forward-thinking Black artists in the UK, who foregrounded their lived experiences on some of the year's standout releases. Shygirl's Nymph and TSHA's Capricorn Sun were both supremely confident debut albums, while jungle DJ Nia Archives and pop-dance producer PinkPantheress also enjoyed breakout years; the former via electrifying DJ sets and her Forbidden Feelingz EP, and PinkPantheress with a string of releases including "Where you are," featuring Willow

Accepting the first-ever award for Best Electronic/Dance Act at London's MOBOs Awards, which honor "music of black origin," Nia Archives spoke to dance music's essence: "Jungle is music of Black origin and I'm proud to be flying the flag for my community and my scene." 

Women Took The Techno Reins

Like other dance subgenres, techno remained predominantly white and male in 2022. To redress this imbalance, some in the industry are pushing for top DJs to insist on an inclusion or diversity clause in their contracts, stipulating that promoters book a diverse lineup.

Despite this reality, a cohort of women made a strong claim to techno stages in 2022. Belgian talent Amelie Lens had a triumphant year as a producer, label boss and hard-hitting DJ, while Italy's Anfisa Letyago was a breakout performer at festivals like Movement, Sónar and EXIT and French DJ Anetha took her Mama Told Ya label to new heights. 

Following a star-making Boiler Room set in 2018, Palestinian DJ Sama' Abdulhadi made her Coachella debut this April. Three months later, bona-fide techno superstar Charlotte de Witte became the first woman and techno artist to close the Tomorrowland mainstage in her native Belgium. Meanwhile, at Berlin's techno temple Berghain, new residents Nene H and Sedef Adasï pushed against techno's strictures in long, wide-ranging sets. 

The UK Came Through

UK club music is always firing, but 2022 took it up a level with new iterations on UK bass music. In a year that electronic maestro Four Tet won his streaming royalty dispute with Domino Records, several of the producer's peers dropped consequential releases.

In April, Welsh duo Overmono distilled their fast-paced take on techno, house, breaks and UK garage on the five-track Cash Romantic EP, including the summer anthem "Gunk." The EP slotted neatly into Four Tet's orbit alongside fast-paced UK-centric club music from the likes of Brainfeeder recruit Ross From Friends and Vienna-born, Manchester-based salute. And up in Belfast, Northern Ireland, festival headlining duo Bicep perfected their own genre-blurring sound. 

Within this world — and arguably in dance music at large — no one blew up this year quite like Fred again… Respected as a producer for artists as diverse as Headie One and Ed Sheeran, Fred made his name as a solo artist during the pandemic with the first two volumes of his Actual Life album series, which set the template for his intimate night-stalking sound. 

In 2022, the producer's Boiler Room London set went viral — 11 million views on YouTube and counting — with its loved-up rollercoaster of Fred again.. originals and bootlegs spanning house, drum & bass, trance and pop. With Actual Life 3 (January 1 -  September 9 2022) now out, Fred again.. is riding into 2023 as the UK producer to beat. 

Tech-House Went Further Mainstream

When Australian producer Fisher released "Losing It" in 2018, he had no idea what a phenomenon it would spark. Originally a secret weapon in the DJ's sets, "Losing It" became Beatport's top-selling track that year and earned a GRAMMY nomination for Best Dance Recording. It also cemented the tech-house subgenre — which evolved from its UK-centric roots in the 1990s to become a dominant club sound across Europe — as a mainstream force in a post-EDM world.

That trend continued in 2022, powered in part by Fisher's still-growing popularity and breakout hits like James Hype and Miggy Dela Rosa's "Ferrari," released on Universal's Island Records. 

After an ascendant 2021, Chicago-born DJ-producer John Summit dominated the year in tech-house, thanks to his prolific output and savvy use of social media. Together with friends like Chris Lake and Dom Dolla, Summit has muscled onto festival mainstages with a bumping, vocal-laced tech-house sound typified by his 2022 releases "La Danza," "In Chicago" and "Show Me." With a 2023 headline show locked at Colorado's famed Red Rocks Amphitheatre - a strived-for badge of honor for dance artists in the US - Summit is proving the big-ticket appeal of tech-house. 

EDM Nostalgia Lived On

A decade on from the explosion of EDM in the U.S., a few of that era's key players made notable returns in 2022.

Back in 2012, big room house hitmakers Swedish House Mafia shocked fans with the announcement of a farewell tour that kicked off just after they delivered their compilation album Until Now, featuring anthems like "Don't You Worry Child" and "Save The World." But 10 years later, the trio of Axwell, Sebastian Ingrosso and Steve Angello made their return with 2022's Paradise Again, which saw the trio evolve into a darker pop sound while still honoring past glories in their comeback shows. 

EDM nostalgia also fueled the 2022 team-up from deadmau5 and Kaskade as kx5, whose debut single, "Escape," could've been the biggest progressive house hit of 2012. In a full-circle moment, the duo capped off the year with a headline show for 46,000 fans at the Los Angeles Coliseum, the former home of EDM massive Electric Daisy Carnival. According to Billboard Boxscore, the concert was the biggest ticketed global dance event of 2022 for a headline artist. 

Reaching further back, French electro-house trailblazers Justice marked the 15-year anniversary of their debut album, †, by sharing a previously unreleased demo version of its timeless single, "D.A.N.C.E." In dance music, even the recent past is ripe for reviving. 

TikTok Made Dance Hits

Just as TikTok helped to make and sustain pop hits in 2022, the addictive video-sharing app also played its part in dance music. While DJs flocked to TikTok to share tips, tricks, mash-ups, and videos from the booth, some of the genre's biggest successes were driven by the TikTok community.

Released in late 2021, Acraze's "Do It To It" became the definitive TikTok dance/electronic hit of the year. A chunky tech-house rework of girl group Cherish's 2006 single of the same name, the track went viral as a TikTok dance, featuring in over 3 million videos. Oliver Tree and Robin Schulz's aggressively catchy "Miss You" also blew up on the platform, powered by Tree's all-in persona. Meanwhile, Eliza Rose and Interplanetary Criminal's garage-tinged house banger "B.O.T.A. (Baddest of Them All)" hit No. 1 in the UK after going viral on TikTok, turning two club-focused producers into overnight stars. 

Rave Was Recontextualized

Dance music is forever mining the past to inform the present, and this year was no different. Throughout 2022, a wide swathe of DJs and producers reached back to the sounds of '90s and early 2000s rave, Eurodance and hard dance to give their sets a jolt. 

The trend was particularly notable in techno, which in recent years has become more open to trance and breakbeat influences. Proponents of this throwback sound include the German artists DJ Heartstring and Marlon Hoffstadt, while Dutch DJ KI/KI powers her sets with decades-old hard dance for a new generation. 

At the more commercial end of the genre, DJ/producers David Guetta and MORTEN have reached back to the past to inform a sound they call "future rave," complete with the October launch of a dedicated Future Rave label. 

Whether looking to the past or striving for the next big sound, the dance/electronic genre was undeniable in 2022, with more highs to come. 

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
Franc Moody

Photo: Rachel Kupfer 

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

GRAMMYs/Nov 25, 2022 - 04:23 pm

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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