Photo: Noam Galai/Getty Images
Alanis Morissette Will Take "Jagged Little Pill" 2020 Anniversary Tour To Europe
And she's bringing Liz Phair along with her
Late last year, Canadian singer/songwriter Alanis Morissette announced a 31-date North American tour in celebration of the 25th anniversary of her hit album Jagged Little Pill. Now she has announced a European leg that will continue the love for her breakthrough album around the world.
The GRAMMY winner is launching the European leg in Copenhagen, Denmark on September 23 and then taking the tour to other cities including London, Dublin, Milan, and Madrid before the last stop in Paris on Oct. 22. Liz Phair, who will open for Morissette on the North American trek, will continue to support her on the European tour.
Jagged Little Pill, released in 1995, features some of Morissette's most memorable songs to date including "You Outta Know" and "Head Over Feet." The album inspired a Broadway musical that opened last fall. But Morissette isn't stuck in the past; her forthcoming album Such Pretty Forks In The Road, the follow-up to 2012's Havoc and Bright Lights, is set to be released in May. Her latest single, "smiling" was released Friday, Aug 21.
For more tour dates in Europe and ticket information, visit Morissette's website.
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Ovidio Gonzalez/Getty Images for MC
Loving Olivia Rodrigo's "Vampire?" Check Out 15 Songs By Alanis Morissette, Miley Cyrus & More That Reclaim The Breakup Narrative
From the soft hums of Carole King's "It's Too Late" to GAYLE's fiery rage on "abcdefu," these 15 songs encapsulate the expansive emotions of women who put problematic exes in their place — far behind them.
Since the 2021 release of SOUR, critics and listeners alike have touted Olivia Rodrigo for her knack to eloquently pen the relatable woes of adolescence and the pitfalls of falling in love too hard. Her latest single, "vampire," is no different.
Despite trading in her "drivers license" teenage loverboy for an older man, the perfectly executed expression of agony remains. As Rodrigo wails on the chorus, "You made me look so naïve/ The way you sold me for parts/ As you suck your teeth into me/ Bloodsucker, famef—er/ Bleeding me dry like a g——n vampire."
But before there was Rodrigo, there was Avril Lavigne, Taylor Swift, and Alanis Morissette — none of which would be where they were without pioneers of diaristic songwriting, Carole King and Carly Simon. Thanks to the immortalization of their music, we can relive the shift from poetic disclosures of hurt, which King exemplifies on "It's Too Late," to more unrepentant, straightforward jabs (like Kate Nash says on "Foundations," "Don't want to look at your face 'cause it's making me sick") and harrowing battle cries (as Miley Cyrus roars, "I came in like a wrecking ball").
Below, revisit 15 songs by empowered women, from 1971 all the way to 2021, who reclaimed the breakup narrative with their fervent sentences of damnation — because, as the age-old saying goes, hell hath no fury like a woman scorned.
Carole King — "It's Too Late" (1971)
When Carole King released "It's Too Late" in 1971, it marked a new era of songwriting. Discussions about divorce were generally unheard of, but even more so when initiated by a woman. Yet, King carried on to unapologetically release "It's Too Late," which later won a GRAMMY for Record of the Year and is lauded by Rolling Stone as one of the 500 Greatest Songs of All Time.
On this folky track, King and her husband's inevitable parting is on the horizon, but she isn't resentful per se. Instead, she's more troubled by the embarrassment of her husband's growing discontent, admitting, "I feel like a fool." And at this point, she's ready to move on and can be grateful for the times they've shared.
Carly Simon — "You're So Vain" (1972)
In her '70s chart-topper, Carly Simon narrates the tale of an arrogant man who believes every woman is enchanted by his aura. But the folk songstress wants to make it very clear she's not impressed by his embellished stories or luxurious closet.
Usually, it's easy to guess the subject of a breakup song, but "You're So Vain" has led to decades of speculation. Many have assumed it could be about James Taylor, who Simon married in 1972 and divorced in 1983, or Mick Jagger, who provided vocals to the track (a theory that was later debunked). To this day, she has only revealed the track's inspiration to a select few, including Taylor Swift, who names Simon as one of her role models.
Joan Jett And The Blackhearts — "I Hate Myself For Loving You" (1986)
Joan Jett might not give a damn about her bad reputation, but she despises nothing more than her ex-lover making her look like a lovesick fool.
On "I Hate Myself for Loving You," the '80s chanteuse wraps herself around a classic glam rock beat, unveiling her contempt for a man who's neglected her. Stripped of her pride, Jett begins to resent herself for holding onto her feelings — as evidenced by the song's title.
She tries to hide her dwelling desires ("I want to walk, but I run back to you") but ultimately fails to rid herself of the emotions, leaving her to fantasize about the sweet justice of one day roping him back in, just to leave him.
Alanis Morissette — "You Oughta Know" (1995)
It's impossible to talk about scathing breakup songs without acknowledging Alanis Morissette's quintessential heartbreak anthem, "You Oughta Know." At the time of its release, the Jagged Little Pill single contained some of the most honest and vitriolic lyrics in existence.
Morissette begins with an illusive statement, "I want you to know that I'm happy for you," which, by the second verse, crumbles into a revelation, "I'm not quite as well, you should know." As she culminates into her most confessional, the instrumental rises into an addicting ruckus, with Morissette revealing the thoughts most of us would be too ashamed to admit: "It was a slap in the face how quickly I was replaced/ And are you thinkin' of me when you f— her?"
Shania Twain — "That Don't Impress Me Much" (1997)
Shania Twain has a particular superpower of delivering each of her lyrics with an air of lightheartedness and confidence. So, when you hear a track like "That Don't Impress Me Much," her disappointment and irritation becomes undetectable.
A quick examination of Twain's story proves — despite the song's bouncy melodies — she's jaded by her ex's preoccupation with his vehicle, appearance and intelligence. Sure, he might be perfect on paper, but he lacks the qualities of a forever lover, and his unmerited ego should be reserved for true big shots like Elvis Presley and Brad Pitt.
Michelle Branch — "Are You Happy Now?" (2003)
In the opening verse of "Are You Happy Now?," Michelle Branch pleads, "No, don't just walk away/ Pretending everything's okay, and you don't care about me." At first, she is in disbelief that her once admirer would swiftly brush her off, but as she reaches the chorus, she begins to question whether his actions were a lie all along.
Her mind racing, Branch teeters between shameless questions of "Do you really have everything you want?" and "Could you look me in the eye and tell me you're happy now?" But by the song's end, she gets the most satisfying payback of all — peace without him: "I'm not about to break/ 'Cause I'm happy now."
Avril Lavigne — "My Happy Ending" (2004)
"My Happy Ending" finds 2000s pop-punk maven Avril Lavigne grasping onto the shards of a broken relationship and trying to pinpoint where everything went wrong. She could have said the "wrong" thing, or her partner's misfit friends might have spoken negatively about her. But there is one thing she does know with certainty: there is no way to pick up the pieces.
Coming to terms with the truth, Lavigne repositions her anger toward the other person for stripping her of her fairytale ending, sarcastically acknowledging him for their time spent together over a somber piano: "It's nice to know you were there/ Thanks for acting like you care/ And making me feel like I was the only one."
Kelly Clarkson — "Gone" (2004)
Kelly Clarkson has traversed almost every emotion in love, from her epic breakup anthems like "Behind These Hazel Eyes" to her most recent LP chemistry. But "Gone" may just be her most unrelenting to date.
Introduced by its Breakaway counterpart "Since U Been Gone," the mononymous "Gone" extends Clarkson's journey of healing — this time, with a more explicit and mature diatribe against her ex's character. Rather than using trivial attacks, Clarkson instead chooses to call out his assumption she'd run back into his arms, later declaring an end to her toleration: "There is nothing you can say/ Sorry doesn't cut it, babe/ Take the hit and walk away, 'cause I'm gone."
Lily Allen — "Smile" (2006)
With "Smile," Lily Allen gets her sweet revenge through the sight of her former flame's tears and misfortune. But the lyrics of Allen's breakthrough single doesn't exactly clarify the specifications of her antics, only an explanation for its origins.
After a cheating scandal ends her relationship, her mental health plummets — until he comes crawling back for her mercy. Upon hearing his pleas, she comes to a realization: "When I see you cry, it makes me smile." And as the conniving music video shows, anyone who cheats on her will get their karma — perhaps in the form of organized burglary, beatings, and a laxative slipped into their morning coffee.
Kate Nash — "Foundations" (2007)
Following in the footsteps of her mentor Lily Allen, Kate Nash vividly paints the tragedy of falling out of love, made prismatic by her plain-spoken lyrics ("Your face is pasty 'cause you've gone and got so wasted, what a surprise!") and her charming, thick London accent.
In this story, Nash has not quite removed herself from the shackles of her failing relationship. In fact, she'd like to salvage it, despite her boyfriend's tendency to humiliate her and her irresistible urge to sneer back with a sarcastic comment. By the end of the track, Nash, becoming more restless, packs on new ways to inconvenience him — but in the end, still wonders if there's any saving grace to preserve their once blazing spark out of a fear of loneliness.
P!nk — "So What" (2008)
The year P!nk wrote "So What," she already had a bevy of platinum singles under her belt. With a gleaming social status and peaking career, she was apathetic to the temporary separation from her now husband, Carey Hart. Feeling the highs of newfound singlehood, P!nk was ready to incite personal tyranny, whether that meant not paying Hart's rent, drinking her money, or starting a fight.
Ironically, Hart appears as the antagonist in the music video, which P!nk revealed via her official fan website was a testament of their growth: "Carey hadn't heard the song before he did the video. That's how much he trusts and loves me [...] He gets it. He gets me," she said.
Taylor Swift — "Picture To Burn" (2006)
Taylor Swift has long solidified herself as the reigning queen of love songs, from ballads honoring the most committed relationships to diss tracks of heartbreaking adolescent flings. The latter houses one of the earliest (and most twangy) hits in Swift's sweeping catalog: "Picture to Burn."
In this deceivingly upbeat tune, Swift vows to seek vengeance on a boyfriend after he leaves her to date one of her friends — from getting with his friends to having her father give him a piece of his mind. And along the way, she will gladly dish out a few insults: "You're a redneck heartbreak who's really bad at lying/ So watch me strike a match on all my wasted time/ As far as I'm concerned, you're just another picture to burn."
Miley Cyrus — "Wrecking Ball" (2013)
Closing the door on her Hannah Montana days, Miley Cyrus' "Wrecking Ball" saw the childhood pop star in her most grown-up and vulnerable state to date. Months before the release, Cyrus had called off her engagement to her longtime boyfriend, Liam Hemsworth, paving the way for her thunderous performance on the Bangerz single.
Just as affecting as Cyrus' belting vocals is the track's iconic music video. Cyrus climaxes with a deafening cry — "All you did was wreck me" — as she swings across the screen on an actual wrecking ball, breaking down all her physical and metaphorical walls.
Halsey — "You should be sad" (2020)
By the mid-2010s, the industry had put angst on the back burner in exchange for feel-good EDM and trap beats. Well, that is, at least, until Halsey entered the picture.
After just two years in the limelight, Halsey had cultivated a vibrant assortment of sonic melodrama — from the dirt and grime of toxic, failed love on tracks "Bad at Love" and "Colors" to the Bonnie and Clyde-esque heated passion of "Him & I."
In 2020, Halsey rounded out her discography with the genre-bending, introspective Manic, where a track like "You should be sad" commands your attention with matter-of-fact, vindictive comments: "I'm so glad I never ever had a baby with you/ 'Cause you can't love nothing unless there's something in it for you."
GAYLE — "abcdefu" (2021)
Unlike most love songs, GAYLE refuses to point her fury on "abcdefu" solely toward her heartbreaker. The then-16-year-old singer, instead, rages against his mother, sister and pretty much anyone (and anything) he's associated with — other than his dog — across a searing melody with a bewitching bassline.
Earlier this year, GAYLE revealed to GRAMMY.com that she was "angry at him and was angry at the people who enabled him and his behavior." That animosity was palpable in "abcdefu," creating a magic as empowering as it is cathartic — and, like many songs that came before it, proving that there can be power in pain.
Photo: Jonathan Weiner
Meet Me @ The Altar Reveal The 4 "Badass" Female Artists Who Inspired Their Debut Album, 'Past // Present // Future'
On the heels of releasing their electric debut LP, pop-punk trio Meet Me @ The Altar celebrate Kelly Clarkson, Demi Lovato, Alanis Morissette and Pink — and how those women played a role in the band's music today.
Long before Meet Me @ The Altar formed in 2015, the trio found inspiration from women who were doing exactly what they are now — breaking the mold for women in rock. So when it came time to name their debut album, there was a title no more fitting than Past // Present // Future.
"We're always going back to the music that inspired us in our childhood growing up and finding ways to make something modern out of that," bassist Téa Campbell tells GRAMMY.com.
While they initially bonded over Paramore — after Campbell and drummer Ada Juarez met on YouTube, they held auditions for a singer, and Edith Victoria won them over with a rendition of Paramore's "All I Wanted" — Meet Me @ The Altar had a separate set of influences in mind while creating their first LP: Demi Lovato, P!nk, Alanis Morissette, and Kelly Clarkson.
All of those artists' impacts are felt across Past // Present // Future, but Meet Me @ The Altar bring a youthful energy that makes the music feel less copycat and more well-informed. There's no denying they were kids of the pop-punk era, as apparent in the racing guitar melody of "Try" and their fearless shots at online trolls on lead single "Say It (To My Face)." Across the album's 11 tracks, it's clear that the MM@TA girls are simply having fun paying homage to the music they grew up on — but ultimately, making it their own.
Just before the album was released on March 10, Meet Me @ The Altar kicked off their first-ever headlining tour. Despite only being six shows in by the time they caught up with GRAMMY.com, the trio had already noticed that they're making a similar impact on fans that their heroes had on them. And with all three members being BIPOC and two queer, the band is serving the next generation in an even bigger way.
"We grew up not seeing people like us on stage — none that we directly saw ourselves reflected in — and we are that for a lot of people now," Campbell says. "That's something that we don't take lightly."
Below, hear from Campbell, Juarez and Victoria on how Demi Lovato, P!nk, Alanis Morissette, and Kelly Clarkson inspired Meet Me @ The Altar's debut LP.
Victoria: She's such a fantastic vocalist. She can sing literally anything — she can sing over a pop instrumental or over a rock Instrumental and she'll still sound fabulous.
Campbell: Demi was always a freakin' rock star. I just remember being like, 7, 8 years old, turning on the TV in my playroom. They would play the music videos in between the shows and stuff, and it was always so inspiring to see someone just, like, rocking out. Disney Channel doesn't get enough credit — they really made [everyone] look like rock stars. It was so iconic.
Victoria: The album that did it for me when I was really young was Don't Forget, with "Get Back" and all of that. I loved that record so much, because it was a fuse of pop and rock, and her badass voice over it was just amazing.
Campbell: Especially instrumentally, Demi's older stuff was a huge influence on this record. [On] "La La Land," the songwriting is really good. That's something I was really focused on with this album, having really good songwriting, because we really care about creating quality work.
"Here We Go Again" was also a main vibe that we wanted to go for, because it's a perfect amount of nostalgia. That's something that we wanted to emulate too.
For all of these artists, it's more vibes versus [trying] to copy their song, you know? We just really loved the energy that all these artists put out, and Demi's songs were just so solid and such good pop-rock songs. And we wanted to have that kind of iconic-ness about ours.
Juarez: Demi's music, since the beginning, has been really rock-based, and that's obviously something that we took into account with what we were doing with this album. We also worked with John Fields, who has produced some of Demi's albums.
We definitely wanted to sound, quality-wise, just like how she sounded in those albums. Those albums are so good.
Campbell: [John] had a bunch of photos and videos [of Demi] from that time when we were recording and stuff, so it was so crazy — especially thinking back to our 7/8/9-year-old selves. They would be freaking out!
Victoria: The melody for "Need Me" [on our album] reminds me a lot of that era. The "yeah, yeah"s were inspired by Demi because she loved her "yeah, yeah"s back in the day. The cadence reminds me of her a lot as well, and that Don't Forget period.
Campbell: "TMI" gives the most, like, Camp Rock-y kind of vibe. I can imagine Edith singing it by a lake, just looking out at the water.
Juarez: Also, just to say: As a person, Demi is amazing — how far they've come, where they are today and where they came from. Demi is definitely someone that I've looked up to for a very long time, to get to where they are today.
Victoria: All these people [inspire me] on a vocal scale, because they're so versatile and they kind of can sing anything, but my favorite parts of them was when they were singing over a rock instrumental. That really influenced me, and it made me realize I can have a more colorful voice than the basic pop-punk dude voice and still be able to sing over rock. Pink's poppier stuff is just as good as her rockier stuff, and I think it's really important to be able to be versatile in your voice like she is.
Juarez: The immediate thing that comes to mind is that P!nk is the best person in the entire f—ing world. She's so unapologetically herself, and always has been. Even how she raises her children today — P!nk is just, like, an angel.
Her music has always been really good. She's done many genres, and honestly, nailed them all. She's just one of those artists that, growing up, I always looked up to. There's never been a point in time where I didn't know that P!nk existed. I've always been like Wow, I want to be as influential as she is.
Campbell: P!nk has always been really inspiring in terms of just taking up space and having a voice. It's her way or the highway — she doesn't take anyone's crap. That mentality has really helped us navigate this whole thing, being young women in a scene that's very older male-dominated. It's hard to navigate sometimes, but having that inside of you, like, I'm just gonna do me and worry about what I got going on — that's something that I really took from P!nk. She's a badass, and that's how we want to be.
If you think about songs as a formula, she's got it down. That's something that we paid attention to. Her song structures are just perfect. It's that mix of that powerhouse voice with the real rock instrumentals. We also focused on more of a driving chorus for most of these songs — that's something that she did a lot and that was something that we really liked.
Juarez: She also has a lot of fun in her songs, and I feel like we get some of that from her. You don't have to take the song too seriously, you can still put your little spin on things.
Campbell: "Thx 4 Nothin" was heavily P!nk inspired.
Victoria: That was one where we were like, "We should write something that is very reminiscent of P!nk." We decided that before we went to the studio that day.
Edith: She's so unconventional and odd. I remember my mom used to play her all the time when I was growing up, and my mom was telling me that when Jagged Little Pill came out, people were so freaked out by her — they were like, "She's the devil" and all this stuff, just because she was a rock star and she sang a lot differently than what any other woman was doing at the time.
I love how unconventional she was and how unapologetic she was. I think that she carried all of that negativity and dealt with it with such grace, and she still just did what she had to do for her fans.
Juarez: I wasn't too familiar with Alanis Morissette for a really long time. But as I've gotten older and learned more about her, I've realized that she's always had her place in the rock scene — like, she played Woodstock '99! Taylor Hawkins was her drummer for the longest time. She's always had a name for herself, and that's something that we strive to do always in a male-centric genre.
Victoria: We cover "You Oughta Know" live, actually. It's one of my favorite songs ever — that whole album is one of my favorite albums ever, Jagged Little Pill. Her song "Thank You" is one of my favorites too.
"Kool" is a song that I wanted to be very kind of weird. That chorus melody is very Alanis-inspired with the way I'm moving my voice, because she moved her voice in a lot of odd ways too.
Victoria: I didn't recognize how much Kelly influenced me, because I was so young listening to all her hits on the radio that I didn't process who it was, I just knew I liked the song and the singer. "Miss Independent" and "Breakaway" — that whole album, I had it on CD, and I used to play it, like, every single day, but I didn't know who the heck Kelly Clarkson was!
When we started this album, and then I went back and I realized, "Oh my gosh, all of these songs are Kelly Clarkson. And they're all so good!"
She is one of my favorite vocalists ever. She's so versatile and her voice is so powerful. She's just amazing.
Campbell: Kelly Clarkson was one of the first people who made me realize how powerful music can be in the context of movies. The Princess Diaries — I think that might have been the first time I ever heard Kelly Clarkson. It made me feel so much.
It's just so cool what music can do. I think that's something that all of these artists opened our eyes to. Especially nowadays, we always find ourselves going back to that time period, because music today just does not feel the same.
All of these artists were songwriters too, and you could tell that their truth was in these songs, and it made you feel something. That's something that is super inspiring, and Kelly is so great at that.
Juarez: Kelly Clarkson — in particular, it was "Breakaway," but honestly that whole album, and even like "Since U Been Gone" and "Behind These Hazel Eyes" — that was one of the first times I felt that nostalgia emotion. Specifically "Breakaway" — I was like 4 or something — like, it would play at the YMCA, that's where I remember hearing it. It always stuck out to me.
Victoria: The melody for "Same Language," but specifically the post-chorus, reminds me so much of her. It's super high, it's super open. It's like a slap in your face in the best way. I can hear singing that part of the chorus so easily.
Campbell: I feel like a lot of our songs, vocally, have the same kind of vibe as "My Life Would Suck Without You." It's just up there and it's just like, goin'.
Juarez: I love that the music we make gives me the same feeling that "Breakaway" gave me when I first listened to it. It's, like, a vibe thing. And also Kelly Clarkson is like, the best person in the world. I think she can do no wrong.
Victoria: She's a ray of sunshine. I'm so happy we're able to be on her show, because that was very full-circle for all of us.
Juarez: We didn't get to meet her though, it was all pre-recorded. One day!
Victoria: I want to get all these people to know who we are so bad. I think they would really like us!
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.