Photo: Anshil Popli
White Dave On The Producers That Inspire Him, Why He's "Not A Rapper By Nature" & His New EP, 'Porch Sessions'
The jubilant rapper White Dave's blunted new EP, 'Porch Sessions,' which dropped on 4/20, is all about the reason for the season
If White Dave doesn't have the right beat in front of him, it's hard for him to get creative. Luckily, one transported him to the period between the fall of the Roman Empire and the Renaissance.
Upon hearing the beat that would become "Peek," the rapper born Noah David Coogler suddenly hurtled through time and space; his street threads transformed into chain mail; his mic became Excalibur itself. "It gave me an old-school, stone-castles, moat-with-an-alligator-type vibe," he recalls to GRAMMY.com. "I was like, "Oh, man, this st sounds like some medieval-type, 'I'm on a horse,' jousting [scenario]. The horn felt like Merlin and wizards and st."
While that description may recall a D&D match on shag carpet with the shades drawn, White Dave hears the potential for the opposite: Ladies' night at the club. "It's got the crazy-ass beat; it's got the sexy-ass horn," he says of the tune’s appeal to the fairer sex. "I was like, "Let me do something for the ladies that will make them want to move and spark some imagination."
"Peek" is a slinky highlight from this month's Porch Sessions, White Dave's latest in a series of releases dropping on 4/20. The Richmond, California, rapper born Noah David Coogler has mostly gotten ink for contributing to films by his brother, Ryan, like Black Panther and Judas and the Black Messiah. But the EP's energy, vivacity and humor points to a future far afield from his brother's shadow.
White Dave takes a long toke on the cover of Porch Sessions, but if the weed imagery conjures an unmotivated couch potato, think again. His work ethic is second to none, and when the pandemic finally wraps up, expect this talented MC to make a massive splash onstage and in the studio.
"I want to connect more, build more with other artists and build up the bread," White Dave proclaims. "The best way to build up the bread is to expand and network, and that means working with other individuals who are like-minded and have a similar hustle."
GRAMMY.com gave White Dave a ring about the dynamo producers that made Porch Sessions possible, why he's had to work harder than most MCs and the inspiration behind each track on the EP.
This interview has been lightly edited and condensed for clarity.
This is one of a few records you've released on 4/20. What's special about that day to you?
Brand reinforcement, brother. Brand reinforcement. I'm a fan of weed. My fans and people who listen to me are fans of weed. I felt like it would be not only on brand but a nice gift to connect with the fans on 4/20, the day of herb. It gives them something to look forward to every year.
I know if my favorite artist promised that they'd release something every year on 4/20, man, I'd be kept in. It's a good way to connect with the audience and give back to the people.
What was your approach for Porch Sessions as opposed to some of the other 4/20 albums?
Typically, if I'm making an EP, I just sit down, get a couple of beats together and start writing. What makes this a little bit more special is that I linked up with some new producers that I hadn't worked with before. Anytime I work with new producers, I always get excited because working with new people unlocks new creative energy.
That's why DP [Beats] and Beats By Holly are the two new producers I linked up with for the EP. They inspired me, man. Of course, I've got Boom production on there, but they really drove it home for me. I've got J-Mac vibing to the production as well. They all inspired me to make these records.
I made a bunch of records, we trimmed the fat and I've got these five records I felt could stand on their own and were an accurate representation of me. So, we put them together and got it out.
What do you specifically appreciate about these producers?
Man, anytime I turn on a beat and it sounds fresh—it doesn't sound like anything else that I've heard—I try to remain in my lane, you know? Kind of carve out my own sound, my own kind of lane. All the beats on the project, in my opinion, were really unique and kind of captured different artistic levels and sides of me.
Anytime I'm able to get inspired by the production, it makes the studio session that much easier. Sometimes, I'll be writing to a beat and the beat doesn't move me; the production doesn't move me. Which isn't to say that it's a bad beat; it just doesn't connect to me the way I'd like for it to.
The producers and production on this project spoke to me and I was able to sit down and get some nice records together. I'm excited about the feedback and I'm excited for people to be introduced.
It seems like it's not just the sound of the record; it's putting the right beat in front of you so the creativity can flow. The producer's role applies throughout the music-making process.
Absolutely. I'm not a rapper by nature. I talk about this all the time; I love making beats. And because I'm not a rapper by nature, I've got to really, really, really rock it with the production because that will encourage and unlock that rap energy.
I grew up making beats, so when I hear beats, I'm listening to it like a solo producer: "Yeah, yeah, yeah, this is tight, this is tight." Oftentimes, I hear a beat and it unlocks that rapper mentality, that rapper mind-state. Those are the beats that I usually put on my EPs and albums: the beats that unlock that type of creativity.
These producers, they did it for me. I'm so excited about the sound of this project. And it sounds so much different than all my other 4/20 projects. All my 4/20 projects sound different, and that's what I'm definitely going to do as an artist: continue to grow, continue to mature, continue to push the boundaries.
Photo: Anshil Popli
You said you're not a rapper by nature. Do you mean to say you're technically limited in some way? Which is not a slight, because many of my favorite singers and guitarists are very technically limited.
Yeah, absolutely. Man, I grew up with acts who can rap. And when I say "rap," I mean you can turn on anything and they just bar the st up. I never grew up with the innate ability to just rap off-the-cuff.
Of course, I could freestyle with friends and st like that and X, Y and Z, but I had to really sit down and learn and teach myself how to structure bars and how to ride the beat and how to format songs—hook, chorus, bridge, intro and outro. I had to really sit down and learn the fine technique and intricate detail of being a rapper.
For me, the way my brain works, producing is second nature because I've been banging on tables and making melodies and cutting rhythms since I came into the Earth. But layering words over beats was something that I had to teach myself.
I started freestyling and rapping and putting bars down when I was 10 or so, but I didn't record my first record until I was 12 years old. That's because I was teaching myself. Making beats came so easy, man. I don't even know how to explain it.
I had a keyboard at my house when I was growing up and I used to play on that thing all night, making beats, just because it connected. It sounds that way connected to my brain. But for me, personally, rapping activates a whole different hemisphere of my brain. That's why I'm always thankful when I meet and work with producers that activate that.
Technically speaking, what's the most important aspect of rapping?
That's a layered question, and I'll tell you why: It's different for every artist. I say that because as a rapper, you've got your tone as a whole—just how you sound on a record. Then, you've got your delivery. You've got your pitch. You've got how you're rapping—if it's super laid-back, if it's super amped-up. If you're changing your voice. All of these things factor into how your message is perceived.
Looking at myself as an artist, I'm a huge fan of how I deliver my raps. If something I'm saying has a comedic edge, it's kind of funny, it's kind of nonchalant, it's how I deliver it, too. I'm a real big fan of how you're delivering the raps.
Let me give you an example. I'm a huge 21 Savage fan. And the reason I'm a huge 21 Savage fan is because his beats are easy to follow along with. But that doesn't make them simple, you know? Having the ability to rap an entire song and have people rap with you bar-for-bar, not everyone can do that.
On the other hand, you've got artists like Eminem. Massive Eminem fans are able to rap along with him, but his delivery and technique is a little bit more intricate and precise. That's not to say one is better than the other; they just do things differently.
For me, personally, I think how I deliver the bars is not necessarily what sets me apart, but what makes me a little bit unique. A lot of artists sound similar but you can distinguish between them because of how they're presenting to you.
I'm a huge fan of Kendrick [Lamar]'s delivery. Huge fan of Kendrick's delivery. And it's because it travels a fine line of God-tier technicality but still resides in that realm of ear candy. Maybe it's not easy to rap along to, but easy to follow along with.
Let's go through the tunes on Porch Sessions. What can you tell me about "That's a Play"?
"That's a Play" is probably the newest record on there. Originally, my 4/20 albums were only four tracks. I kind of like the theme of four tracks.
But my boy J-Mac, who's a producer out of North Carolina, I met him a couple of years ago. He always sends me beats here and there. He sent that over and was like, "Hey, I made this beat, man. It's kind of got a cushy pop sheen to it. It's not a pop record, but it's got a poppy feel, almost."
I turned on the beat and, like I was saying earlier, it activated that part of the brain. It activated that lyric-writing portion, that "I have words to say" portion. I laid down a rough hook and I was like, "This might be a jam!" It kind of had a mellow-hype thing. You can either turn it on and chill to it or turn it on and get hype to it.
When I finished the record, I sent it over to my management team and they were like, "Aye, this record's tight. We want to put it on Porch Sessions. This has to go on there. This is a hell of record."
Right on. How about "Hotel Motel"?
"Hotel Motel" is one of my personal favorites. My boy Boom, who's a phenomenal producer, man—phenomenal producer—sent that beat over. I'd been telling him, "Say, bro, we need more uptempo shit, some party-type st!"
He sent the beat over, I was chewing on it for a bit, and I actually came up with a couple of different hooks for it. But I said, "We need something that will represent Bay Area culture a little bit." When I was growing up, we used to have hotel parties. And depending on the crowd you were hanging with, it was either a hotel party or a motel party.
That energy and that type of vibe, I wanted to capture that on the record. If you're from the Bay, you recognize that this is the Bay Area life. That is the Bay Area anthem for the album, if you will. I wanted to make sure I had at least one on there that was like that.
Tell me about "Odor."
It speaks for itself, man. If you're going to be dropping a project every 4/20, you've got to make sure you have a type of weed anthem on there. "Odor" is also produced by Boom. Boom is the GOAT. He's the backbone to my sound. He keeps me motivated.
Once again, Boom sent that beat over and I listened to it and I was like, "Yo, that st, that is such a unique sound." There is nobody rapping over these types of beats. I feel like that's what kind of separates me from everybody else. They always have a nice groove on them.
I hate when I turn on a beat and the beat's tight but it's got too much going on. You can overproduce. There's such a thing as overproducing. Boom does the exact amount every time—the perfect amount every time. For example, "Hotel Motel," it took me a while to get that song where I needed it to be. "Odor" wrote itself. He sent it over and I was like, "OK, this is the weed anthem. Now let's get it going."
I feel like "odor" is a word that kind of has negative connotations. People think of an odor as a negative thing. For me, an odor isn't necessarily a bad smell. It's a distinct smell. So I was like, "'Odor' is a good word for trees." Some people think weed stinks and other people think it's one of the best smells on Earth.
And how about "Peek"?
"Peek," man! Ah, man! One of my personal favorites from the project.
Beats By Holly—he's the guy on IG, man. He reached out to me a couple of months ago and goddamnit, man, he sent me, like 80 beats, man. Which I love. Because not only does it show me that you're serious about your craft; you're serious about working.
I can't tell you how many times somebody would hit me on IG telling me, "Let's do some work," and that's it. That is the full extent of the conversation. Holly hit me, he said, "Let's do some work," I said "Bro, let's go," and he sent me 80 beats the next day. Eighty beats!
And me, I'm very picky. Beats can be tight, but they may not speak to me. I'm going through the beats, brother, and I came up on the beat for "Peek." I was like, "Oh, man, this st sounds like some medieval-type, 'I'm on a horse,' jousting [scenario]." I felt like I was in a suit of armor. The horn felt like Merlin and wizards and st. It gave me an old-school, stone-castles, moat-with-an-alligator-type vibe.
I didn't come up with the words right off the bat, but the beat was talking to me. So, I said, "Let me chew on this for a little bit." I'm chewing on the beat for a little bit and I'm realizing … Something I think about all the time is that I'll be hovering over my listener's breakdown—not my streams, but my listener's breakdown—and it sounds funny, but I only have, like, eight percent female listeners.
I'm like, "Let me see if I can do something for the ladies, but not, like, super, super, super down the line. I've got R&B records for the ladies on the albums and st, but I was like, "Let me do something for the ladies that will make them want to move and spark some imagination," you know? "Peek" is my song that's for the ladies.
It's not a sex song, but it's kind of sexy, you know what I mean? It's got the crazy-ass beat; it's got the sexy-ass horn. It's got a certain feel to it. The way I did the hook, it's got a swing. Sometimes, I write my bars to be very precise and on-point because that's how I taught myself, and other times, I'll do something with a little more swing.
And the hook on "Peek," if you're looking at it from a musical standpoint, is a little more bluesy, a little more funky, because it lacks traditional structure. It holds notes, it starts at off times, and it gives the song a unique kind of swing when it gets to the hook portion. And that's what I really like. That's what I really fk with.
Lastly, we've got "Brand New."
Yeah, yeah, that's DP, man. French producer, bro. He hit me about doing some work, brother, and he sent over, like, 10 beats. So, I'm going through them, I'm going through them, and I pulled up on this beat. I was like, "This st is wild!" I loaded it into ProTools, man, and once again—and I can't make this st up, bro—the song wrote itself.
It gave me this sliding-type feeling. Where I'm just sliding. I'm in a good mental space, I'm in a huge spiritual space, and I'm just vibing out. "Brand New" always felt like a phrase that was meant for rebirth. I'm reinvigorated. I'm full of fresh, new energy. That's what I wanted to capture on that record.
The guitar on that record is hella sexy. The bass gets to kickin'. It's kind of an aggressive record, and I don't have an aggressive sound, so that kind of gives it a layer. It was funny because, originally, that was going to be the opening track. But at the last minute, we moved "That's a Play" to the beginning and we moved "Brand New" to the end.
Now that I look at it, I'm like, "God, we should have put 'Brand New' at the front," just because of that energy. It's got a very unique energy that no other song has.
When things settle down, what are your plans for the remainder of 2021 and 2022?
I want to get on stage, man. I don't want to oversell myself, but I put on a pretty good live show. I want to do it safely. I know COVID is still poppin'. But the biggest thing, man, is I want to continue to make records. I want to branch out and make records with more artists.
It's more difficult to do as an independent artist—working with bigger artists and with bigger budgets and st. But I've made moves here and there, so I want to just continue to grow. Continue to hone my craft. Learn the industry better. Also, do more production. I still make beats. I make beats every day.
At the moment, I only produce for myself. I have a couple of artists I produce for here and there, but for the most part, I only produce for myself. I want to venture out more. I want to connect more, build more with other artists and build up the bread.
The best way to build up the bread is to expand and network, and that means working with other individuals who are like-minded and have a similar hustle. I want to continue to grow, get better, get smarter, mature and continue to make steps.
I really appreciate your drive and commitment to improve as an artist. It's inspiring stuff.
Oh, for sure, man. If you're not trying to get better, what are you doing?
The Soundtrack Hit Makes A Comeback: How 'Encanto,' 'Top Gun' & ‘Black Panther’ Went From Chart-Toppers To GRAMMY Nominations
The once-golden bridge between Hollywood and Billboard has been quiet in recent years, perhaps due in part to the pandemic. But over the past 12 months, that trend has been truly broken.
It’s the kind of development even an animated fortune teller voiced by John Leguizamo couldn’t have predicted.
Lin-Manuel Miranda’s 2021 animated film Encanto was all-conquering, and its success also touched the Billboard charts. The film's "We Don't Talk About Bruno" entered the first Hot 100 chart of 2022 at No. 50, quickly becoming a record-breaking, multi-million-selling phenomenon. It also led to the renaissance of a particular crossover: the soundtrack hit.
With the domestic box office now showing signs of returning to pre-COVID days, the soundtrack single has, once again, become a key marketing tool and chart staple. The nominees for Best Song Written For Visual Media at the 2023 GRAMMYs are proof: Four of the six nominated songs charted on the Billboard Hot 100, with "We Don't Talk About Bruno" sitting at No. 1 for five weeks — the highest tally for a soundtrack release in seven years. (Aladdin favorite "A Whole New World" is also in the exclusive club of Disney animation No. 1s.)
2022 spawned five Top 10 hits from film soundtracks — a feat last achieved in 2018 via Kendrick Lamar’s Black Panther collabs with the Weeknd ("Pray for Me") and SZA ("All the Stars"), Swae Lee and Post Malone’s "Sunflower" (Spiderman: Into the Spider-Verse), Khalid & Normani’s "Love Lies" (Love, Simon), and the A Star Is Born cut "Shallow." Yet the once-golden bridge between Hollywood and Billboard was quiet in the intervening years, perhaps due in part to the pandemic. Not one TV or movie tie-in graced the Top 10 in 2021 or 2020. And although Oscar-winning “Shallow” reached pole position in 2019, it began its chart trajectory the year previously.
Over the past 12 months, however, this drought has been well and truly broken. And for a while, single-handedly by Encanto.
The Encanto OST picked up three GRAMMY nominations — Best Compilation Soundtrack For Visual Media, Best Score Soundtrack For Visual Media and Best Song Written For Visual Media for "Bruno" — and spawned seven Hot 100 singles, including another Top 10 smash, "Surface Pressure." Not bad for an album which in its first week entered the charts at No. 197.
Unlike the inescapable "Let It Go" from 2013's Disney juggernaut Frozen, the success of "Bruno" happened more organically. Its chart and streaming dominance wasn't steered by record executives, but by the public who deemed it more stream-worthy than any other track from the film. The biggest soundtrack from a live-action film, Top Gun: Maverick, told a similar story.
Lady Gaga’s power ballad "Hold My Hand" was primed to replicate the chart-topping, Academy Award-winning success of Berlin’s "Take My Breath Away" from the 1986 original. But while Gaga's lead single received a Best Song Written For Visual Media nomination at the 65th GRAMMY Awards, its chart peak was overwhelmingly eclipsed by OneRepublic’s "I Ain’t Worried."
The uptempo Peter, Bjorn and John-sampling track played over key scene where Tom Cruise, Glen Powell and Miles Teller play football shirtless on the beach, and became Ryan Tedder and co.’s biggest hit since 2013’s "Counting Stars" (No. 6 on Hot 100, over 660 million streams). The synergy between moviegoers and OneRepublic fans caught the band's record label off guard; Interscope pulled promotion of then-current single "West Coast" to capitalize on all the buzz.
2022 also witnessed a return-to-form from pop music-savvy director Baz Luhrmann, whose expert curation helped Romeo and Juliet, Moulin Rouge and The Great Gatsby spawn radio hits. Luhrmann was never going to give his Elvis Presley biopic a traditional soundtrack; instead he favored a mix of nostalgia and anachronism.
Elvis is peppered with songs performed by The King himself, as well as covers sung by former teen idol/lead actor Austin Butler and a host of newcomers and established artists. Yet the film's sole Top 10 hit was contemporary: Doja Cat's "Hound Dog"-sampling "Vegas." For Luhrmann's vision, Elvis was nominated alongside Encanto, "Stranger Things," Top Gun: Maverick and West Side Story for Best Compilation Soundtrack For Visual Media GRAMMY Award.
Even Rihanna came out of self-imposed musical retirement for a film soundtrack, releasing the lead single from Black Panther: Wakanda Forever in late October. While the dramatic balladry of "Lift Me Up" might not have been the floor-filling banger many fans hoped for — the song is Rihanna's first solo single in six years — it still returned the Barbadian to the upper echelons of the hit parade, reaching No. 2.
No stranger to the film soundtrack, Taylor Swift’s contribution to haunting drama Where the Crawdads Sing, "Carolina," is also nominated in the Best Song Written for Visual Media category alongside "Nobody Like U" — Turning Red’s fictional boyband song co-penned by Billie Eilish. And while the monolithic state of the comic book universe has rarely translated to the singles chart, The Batman’s use of Nirvana’s "Something In The Way" catapulted 1992's Nevermind up the charts.
As movie hits were abundant, so were songs featured in big-time TV shows — bringing new songs and decades-old hits back into public consciousness. Chief among these small screen-to-chartoppers was Kate Bush's 1985 single "Running Up That Hill," which played over a significant moment in the mammoth fourth season of Netflix’s "Stranger Things."
The song was the British singer/songwriter's first Top 40 hit in the U.S., peaking at No. 30 on the Hot 100 in the '80s. Nearly 30 years later, without any label backing, the majestic synth-pop classic enjoyed a much-deserved second wind, shooting all the way up to No. 3 faster than you can say "flesh-eating Demogorgon."
The sci-fi nostalgia-fest also gave another, although much heavier, ‘80s gem a new lease of life when Joseph Quinn’s Eddie Munson shredded Metallica’s "Master of Puppets" in its season finale. The thrash metal favorite subsequently enjoyed a belated chart debut at No. 35, returning the headbangers to the Hot 100 for the first time in 14 years.
Elsewhere, video game adaptation "Arcane" spawned the first TV theme hit in eons with unlikely dream team Imagine Dragons and JID’s "Enemy," while "Euphoria" regular Labrinth scored a chart hit with "I’m Tired," a gospel-tinged song he performs in the second season's fourth episode as Zendaya's Rue imagines entering a church. The new golden age of television combined with the return to multiplexes ensured that 2022 was a banner year for the OST.
2023 looks promising, too: Dua Lipa is rumored to be contributing to Barbie’s long-awaited cinematic debut; Disney is set to give The Little Mermaid the live-action treatment featuring Chloe x Halle’s Halle Bailey; and several franchises that previously spawned No. 1 soundtrack songs have new installments on the way (The Hunger Games: The Ballad of Songbirds and Snakes, Fast X). Regardless, expect the soundtrack hit renaissance to continue growing like the "grapes that thrive on the vine."
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.
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.
Photo: Rachel Kupfer
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.
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'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 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 (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'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.
Photo: Steven Sebring
Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."
Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP, Cage, and continuing to rock through decades of changing tastes.
Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.
Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face."
But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life.
His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves.
Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)
Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") — their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.
While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens.
Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.
Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up.
Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically.
"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?
We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds.
We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick.
I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?
Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol.
You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way.
Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?
I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier.
I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff.
So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.
[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.
I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.
Did you watch Danny Boyle's recent Sex Pistols mini-series?
I did, yes.
You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?
I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.
It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.
But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is] informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.
Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.
We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.
It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].
We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.
You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.
It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.
When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.
You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?
Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."
We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.
You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.
With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.
Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.
You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?
I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.
But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.
I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?
I think it was his car.
Did he get over it later on?
He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.
Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?
In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.
We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.
The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.
There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.
It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.
It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.
Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?
Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.
The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.
The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?
Yeah. Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].