Photo: Yuliya Christensen/Getty Images
Kevin Parker of Tame Impala
How A California Fire Affected Tame Impala's Much-Awaited Next Album
Recently released interviews by 'The New York Times' and 'Rolling Stone' have shined more light on some of the challenges Kevin Parker has faced in finishing the album, including a setback caused by a destructive California fire
It feels like everyone is anxiously awaiting GRAMMY-nominated Tame Impala's forthcoming new album, the follow-up to 2015's Currents, and, honestly, Kevin Parker, the one-man-band behind the outfit, seems to be ready for more new stuff himself.
Parker, who performs live with a band, told Matt Wilkinson on Beats 1 July of last year that he'd like to get the album out by mid 2019. "I'd be really disappointed if we didn't have something out by then." Parker said. "I love playing the songs live, I love playing Currents songs, I love playing Lonerism songs and everything but I think I'm ready to play some other songs live."
But as of June, we haven't heard of a solid release date yet. Truth is, some of the setbacks have been out of Parker's hands. Recently released interviews by the New York Times and Rolling Stone have shed more light on some of the challenges Parker has faced in finishing the album, including a setback caused by a destructive Southern California fire.
Parker was half way through the new album, Rolling Stone reports, and set to continue working in a house he had rented via AirBnb in Malibu, Calif. when the morning of Nov. 9 he woke up to a concerned message from his manager and clouds of smoke and flames outside.
What Parker was witnessing was the most damging fire in Ventura County history; the fire damaged 100,000 acres, 1,600 structures that killed three people, according to Pacific Standard.
The New York Times reports that Parker grabbed his laptop and hard drive which held pieces of his unfinished album and his vintage 60s' Hofner bass guitar.
“I’ve written every Tame Impala song on it,” he told the Times. “I was, like, house burning down! What do I grab? My laptop and the Hofner. This was just split-second thinking. I looked at everything else and thought, ‘I don’t need that.’”
Parker described the destructive power of the flames he was seeing to Rolling Stone:
“I could see the whole hillside on fire. At first I kind of just thought it was epic, so I stood there filming for 10 minutes — then I saw the flames start to lap up people’s houses, and the sky started to blacken.” The rental house, and all of Parker’s abandoned gear, were incinerated. “It might have been a different story, if I didn’t wake up when I did,” he said.
The fire would destroy the home Parker was renting and all the gear he could not get out with. The fire added a wrench to a process that has already been a bit challenging for Parker to complete. The New York Times touches on the years it took for Parker to gain momentum to start the album and the pressure he feels now to finish it.
“Part of the thing about me starting an album is that I have to feel kind of worthless again to want to make music," he said. "I started making music when I was a kid as a way of feeling better about myself, you know? The ironic thing is, if I’m feeling on top of the world or feeling confident or like everything’s good, I don’t have the urge to make music.”
He added: “If I could make an album every year I would, I’d love to. I hate to sound precious, or to say I can’t hurry it, but it’s true.”
The fact that Parker is a one-man-band can make the process take a little longer.
“I know it turns his head inside out sometimes, not having a bandmate or a band, not working in any way where you can turn to other people,” A&R manager at Universal Music Australia Glen Goetze told the Times. “He’s got to go through all those phases to come out the other end with something as incredible as he does.”
Basically, making music for Parker “a stoically solitary process,” Goetze said.
Both outlets touched on Parker's "loner" side. He grew up as an introvert, who now, as an artist, still thinks about his music as reaching other loners.
“I reckon a lot of artists get inspired by the idea of singing something to a crowd, many thousands of people,” Parker told the Times. “But me, I prefer just to think about the kid wearing headphones riding the bus home from school, or having a bedroom headphone listening session. That’s where I come from.”
“Being a personality onstage, that’s something I’ve been growing into,” he told Rolling Stone. “Saying f* it and being that person who can rile up the audience. That’s someone I never saw myself as.”
While the album doesn't have a release date yet, he told the Times, during his time in Guadalajara, Mexico, for his performance at Corona Capital, a little more about what fans can expect:
"It’s taken shape in my head,” he said. “When I start making songs for an album, I don’t know what each one’s role is. But by the time I’m finished, each one has a color, each one has an identity, each one has a purpose.”
He gave Rolling Stone more details, too. “The way I’ve dabbled in influences in the past? I’ve been unafraid to go there all the way this time. To challenge what Tame Impala is in terms of how wide it can go,”“ he said. "I’ve been embracing my love of weird Seventies stadium rock,” he notes, “like, epic Meat Loaf stuff.”
While he gave no exact release date either, the magazine said the album will likely be out this summer. We'll have to continue to wait and see.
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: Erika Goldring/WireImage, Daniele Venturelli/Daniele Venturelli/Getty Images for Luisaviaroma, Scott Legato/TAS23/Getty Images for TAS Rights Management, Astrida Valigorsky/Getty Images, Don Arnold/WireImage, Alexander Tamargo/Getty Images for Atlantis Paradise Island, Chung Sung-Jun/Getty Images
15 Must-Hear Albums This July: Taylor Swift, Dominic Fike, Post Malone, NCT Dream & More
From the highly anticipated 'Barbie' soundtrack to a celebration of Joni Mitchell's iconic Newport Folk Festival return, check out 15 albums dropping this July.
The first half of 2023 is already behind us, but July gives us much to look forward to. The warm sun, tours and festivals abound, and a heap of exciting releases — from Colter Wall's country music to NCT DREAM's K-pop — will surely make this season even more special.
We start it off with Taylor Swift and her third re-recorded album, Speak Now (Taylor's Version) on July 7, the same day Pitbull returns with his twelfth studio album, Trackhouse. Post Malone will deliver his fourth LP, AUSTIN, and Blur returns with their first album in eight years. And for the classic music lovers, folk legend Joni Mitchell will release At Newport — a recording of her first live performance since 2015 — and rock maven Stevie Nicks will drop her Complete Studio Albums & Rarities box set.
To welcome the latter half of a year filled with great music so far, GRAMMY.com offers a guide to the 15 must-hear albums dropping July 2023.
Taylor Swift, Speak Now (Taylor's Version)
Release date: July 7
Taylor Swift fans are used to gathering clues and solving puzzles about the singer's intricate, ever-expanding discography. Therefore, in her hometown of Nashville concert last May, when she announced that Speak Now (Taylor's Version) would come out on July 7, it was not much of a surprise to the audience, but rather a gratifying confirmation that they had followed the right steps.
"It's my love language with you. I plot. I scheme. I plan. And then I get to tell you about it," Swift told them after breaking the news. "I think, rather than me speaking about it ... I'd rather just show you," she added, before performing an acoustic version of Speak Now's single, "Sparks Fly."
Shortly after, she took it to Instagram to share that "the songs that came from this time in my life were marked by their brutal honesty, unfiltered diaristic confessions and wild wistfulness. I love this album because it tells a tale of growing up, flailing, flying and crashing … and living to speak about it."
Speak Now (Taylor's Version) is Swift's third re-recorded album, following 2021's Red (Taylor's Version). It will feature 22 tracks, including six unreleased "From the Vault" songs and features with Paramore's Hayley Williams and Fall Out Boy. "Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she shared on Twitter. Swift is currently touring the U.S. with her acclaimed The Eras Tour, which will hit Latin America, Asia, Australia, UK, and Europe through August 2024.
ANOHNI and the Johnsons, My Back Was a Bridge For You To Cross
Release date: July 7
"I want the record to be useful," said ANOHNI about her upcoming sixth studio album, My Back Was A Bridge For You To Cross. The English singer says she learned with her previous LP, 2016's HOPELESSNESS, that she "can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making," therefore aiming to make use of her talents to further help and inspire people.
Through 10 tracks that blend American soul, British folk, and experimental music, ANOHNI weaves her storytelling on inequality, alienation, privilege, and several other themes. According to a statement, the creative process was "painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it."
My Back Was A Bridge For You To Cross "demonstrates music's unique capacity to bring harmony to competing, sometimes contradictory, elements" — qualities that can be observed in the album's contemplative pre-releases "It Must Change" and "Sliver Of Ice."
Release date: July 7
GRAMMY-winning singer/rapper Pitbull has recently broadened his reach into an unexpected field: stock cars. Together with Trackhouse Entertainment Group founder Justin Marks, he formed Trackhouse Racing in 2021, an organization and team that participates in the NASCAR Cup Series.
Now, to unite both passions, the Miami-born singer is releasing Trackhouse, his twelfth studio album and first release since 2019's Libertad 548. "In no way, shape, or form is this some kind of publicity stunt," said Mr. Worldwide of the upcoming album during a teleconference in April. "This is real. This is all about our stories coming together, and that's why the fans love it. […] This right here is about making history, it's generational, it's about creating a legacy."
Preceded by singles "Me Pone Mal" with Omar Courtz and "Jumpin" with Lil Jon, it seems that Trackhouse, despite its innovative inception, will continue to further Pitbull's famed Latin pop brand. This fall, he will also join Enrique Iglesias and Ricky Martin on The Trilogy Tour across the U.S. and Canada.
Dominic Fike, Sunburn
Release date: July 7
Multitalented singer, songwriter and actor Dominic Fike also joins the roll of summer comebacks. His second studio album, Sunburn, comes out July 7, and follows 2020's acclaimed What Could Possibly Go Wrong.
In recent years, the Florida star found great exposure after landing a role in the HBO hit series "Euphoria" as well as the upcoming A24 drama Earth Mama, which is slated to release on the same day as Sunburn. The past three years were also marked by collaborations with a handful of artists, from Justin Bieber ("Die For You") to Paul McCartney ("The Kiss of Venus") to his Euphoria co-star Zendaya on "Elliot's Song" from the show's soundtrack.
Sunburn marks Fike's joyful return to music, aiming to portray "the aching and vulnerable revelations of a young artist still growing and putting their best foot forward," according to a press release. Through 15 tracks, including singles "Dancing in the Courthouse," "Ant Pile," and "Mama's Boy," Fike will explore themes of "heartbreak and regret, addiction, sex, and jealousy."
One week after Sunburn's arrival, Fike will embark on a tour across North America and Canada, starting July 13 in Indianapolis.
Lauren Spencer Smith, Mirror
Release date: July 14
Lauren Spencer Smith said on TikTok that she's been working on her debut album, Mirror, for years. "It has been with me through so much in my life, the highs and the lows, and it means more to me than I can put into words. It tells a story of reflection, healing and growth," she added.
The 19-year-old, British-born Canadian singer is unafraid to dive deep into heartbreak and sorrow — as she displayed on her breakthrough hit "Fingers Crossed" — but offers a way out by focusing on her growth. "I went through a hard breakup, and the album tells the story of that all, the journey of that and now being in a more happy relationship. The title comes from the one thing in my life that's seen me in every emotion through that journey — my bedroom and bathroom mirror."
Like a true Gen Zer, Smith has been teasing the 15-track collection and its upcoming world tour all over social media. On July 14, the day of the album release, she kicks off the North American leg of the tour in Chicago, before heading to the UK, Europe, Australia, and New Zealand.
Colter Wall, Little Songs
Release date: July 14
"You might not see a soul for days on them high and lonesome plains/ You got to fill the big empty with little songs," sings Colter Wall on the titular track off his fourth studio album, Little Songs. The Canadian country star says in a press release that he wrote these songs over the last three years, and that "I penned most of them from home and I think the songs reflect that."
Born and raised in the prairies of Battle Creek, Saskatchewan, Wall found inspiration in the stillness of his surroundings. With this album, he bridges "the contemporary world to the values, hardships, and celebrations of rural life" while also opening "emotional turns as mature and heartening as the resonant baritone voice writing them," according to a press release.
Little Songs is composed of 10 tracks — eight originals and two covers (Hoyt Axton's "Evangelina," and Ian Tyson's "The Coyote & The Cowboy.") He'll celebrate the album's release with a performance at Montana's Under The Big Sky festival on the weekend of the LP's arrival.
Release date: July 14
British singer Mahalia celebrated her 25th birthday on May 1 by announcing IRL, her sophomore album. Out July 14, the R&B star claims the album to be "a real reflection of the journeys I've had, what actually happened, and a celebration of everyone who got me there."
The 13-track collection will feature names like Stormzy and JoJo, the latter of whom appears on the single "Cheat." Before the release, Mahalia also shared "Terms and Conditions," a self-possessed track that pairs her silky voice with delightful early-aughts R&B.
"I'm so proud of this album, and so proud of how much I challenged myself to just let those stories out," she said in a statement. "We're all fixated on how we can make ourselves better but I want people to also reminisce on lovely or painful situations they've lived through and how they've helped shape the people they are now."
IRL is Mahalia's follows 2019's highly-acclaimed Love and Compromise. In support of the release, she has announced UK and Europe tour dates from October through November.
NCT DREAM, ISTJ
Release date: July 17
The Myers-Briggs Personality Test (also known as MBTI) is a current craze in South Korea, therefore, it was only a matter of time until a K-pop group applied its insights on their music. Although none of NCT DREAM's seven members has the ISTJ personality type, that's what they decided to call their upcoming third studio album, out on July 17.
The 10-track collection comes in two physical versions: Introvert and Extrovert, the first letters and main differentiators in any MBTI personality. Spearheaded by the soaring "Broken Melodies," where they display an impressive set of vocals, their comeback announcement on Twitter promises "The impact NCT DREAM will bring to the music industry."
Since September, the NCT sub-group embarked on The Dream Show 2: In A Dream World Tour, which crossed Asia, Europe, North America. The group will wrap up July with four concerts in Latin America.
Blur, The Ballad of Darren
Release date: July 21
"The older and madder we get, it becomes more essential that what we play is loaded with the right emotion and intention," said Blur's guitarist Graham Coxon in a statement about The Ballad of Darren, the band's ninth studio album set to arrive on July 21.
Maybe that explains why The Ballad is their first release in eight years, and represents "an aftershock record, reflection and comment on where we find ourselves now," according to frontman Damon Albarn. During a press conference in May, bassist Alex James reinforced the positive moment that they find themselves in, stating that "there were moments of utter joy" while recording together.
Produced by James Ford, the album contains 10 tracks, including the wistful indie rock of lead single "The Narcissist." On July 8 and 9, Blur is set to play two reunion gigs at London's Wembley Stadium, followed by a slew of festivals across Europe, Japan and South America.
Barbie: The Album
Release date: July 21
The most-awaited summer flick of 2023 also comes with a staggering soundtrack. Scored by producers Mark Ronson and Andrew Wyatt, Barbie: The Album features songs by hot stars like Dua Lipa, Lizzo, and Ice Spice, as well as some surprising additions, such as psychedelic star Tame Impala and K-pop rookie sensation Fifty Fifty.
As undecipherable and alluring as the actual movie plot, the album tracklist only increases expectations for Greta Gerwig's upcoming oeuvre. Is it all a satire? Is it a serious take on "life in plastic" and consumerism? Is it about nothing at all? You can try to find some clues through pre-release singles "Dance the Night" by Dua Lipa, "Watati" by Karol G, and "Angel" by PinkPantheress.
Greta Van Fleet, Starcatcher
Release date: July 21
Fans who attended the three final shows of Greta Van Fleet's Dreams in Gold Tour this March already got a sneak peek of the band's upcoming third studio album, Starcatcher. Among their most popular hits, the quartet played five new songs — or half of Starcatcher — including singles "Meeting the Master," "Sacred the Thread," and "Farewell for Now."
In a statement about the album, drummer Danny Wagner said that they "wanted to tell these stories to build a universe," and that they wanted to "introduce characters and motifs and these ideas that would come about here and there throughout our careers." Bassist Sam Kiszka adds: "When I imagine the world of Starcatcher, I think of the cosmos. It makes me ask a lot of questions, like 'Where did we come from?' or 'What are we doing here?' But it's also questions like, 'What is this consciousness that we have, and where did it come from?'"
Just a few days after release, Greta Van Fleet will embark on a world tour. Starting in Nashville, Tennessee on July 24, they will cross the U.S. and then head over to Europe and the UK in November.
Post Malone, AUSTIN
Release date: July 28
In a shirtless, casual Instagram Reel last May, hitmaker Post Malone announced his upcoming fourth studio album, AUSTIN, to be released on July 28. Titled after his birth name, the singer shared that "It's been some of the funnest music, some of the most challenging and rewarding music for me, at least" — a very different vibe from the more mellow, lofi sounds of 2022's Twelve Carat Toothache — and that the experience of playing the guitar on every song was "really fun."
Featuring 17 tracks (19 on the deluxe version), AUSTIN is preceded by the dreamy "Chemical" and the angsty "Mourning," and sees Malone pushing his boundaries in order to innovate on his well-established sound. The album will also be supported by a North American 24-date trek, the If Y'all Weren't Here, I'd Be Crying Tour, starting July 8 in Noblesville, Indiana and wrapping up on August 19 in San Bernardino, California.
Stevie Nicks: Complete Studio Albums & Rarities box set
Release date: July 28
To measure Stevie Nicks' contribution to music is an insurmountable task. The Fleetwood Mac singer and songwriter has composed dozens of the most influential, well-known rock classics of the past century ("Dreams," anyone?), also blooming on her own as a soloist since 1981, when she debuted with Bella Donna.
In the four decades since, seven more solo albums followed, along with a trove of rarities that rightfully deserve a moment in the spotlight. Enter: her upcoming vinyl box set, Stevie Nicks: Complete Studio Albums & Rarities. The 16xLP collection compiles all of her work so far, plus a new record with the aforementioned rarities, and is limited to 3,000 copies. It's also the first time that Trouble in Shangri-La, In Your Dreams, and Street Angel are released on vinyl. For those who can't secure the limited set, a version of Complete Studio Albums & Rarities with 10xCDs will be available digitally.
Joni Mitchell, At Newport
Release date: July 28
Last year's Newport Folk Festival in Rhode Island was one to remember. During one evening of the fest, a surprise guest graced the "Brandi Carlile and Friends" stage: it was none less than legendary folk star, Joni Mitchell. And what's more? It was her first live appearance since 2015, when she suffered a debilitating aneurysm.
During that time, the 79-year-old singer quietly held "Joni Jams" at her home in Los Angeles — inviting musicians that ranged from Elton John to Harry Styles to participate — with organizational support offered by Carlile. With Mitchell's special appearance at Newport, the coveted experience of a Joni Jam was available for thousands of fans.
This month, the release of At Newport eternalizes the headlining-making moment, bringing her talents to an even bigger audience. Among the classics in the tracklist are "Carey," "A Case of You," and "The Circle Game," proving that Mitchell is still as magical as when she stepped on the Newport Folk Festival stage for the first time, in 1969.
Jennifer Lopez, This Is Me… Now
Release date: TBD
In 2002, J.Lo was everywhere. Her relationship with actor Ben Affleck ensued heavy attention from the media, and her This Is Me… Then album — which featured hits like "Jenny from the Block" — was a commercial success, with over 300,000 first-week sales in the U.S.
How funny is it that, 20 years later, the singer and actress finds herself in a similar situation. After rekindling with Affleck in 2021, she announced the sequel to her 2002 release, This Is Me… Now, and stated in an interview with Vogue that the album represents a "culmination" of who she is.
A press release also describes This Is Me… Now as an "emotional, spiritual and psychological journey" across all that Lopez has been through in the past decades. Fans can also expect more details on the new-and-improved Bennifer, as many of the titles among its 13 tracks suggest, especially "Dear Ben Pt. II."
Although an official release date has not yet been revealed, on June 29, Lopez posted a cryptic image on social media with the caption "album delivery day" — suggesting that the highly anticipated This Is Me update may not be far away.
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].