For pretty much every living artist with an internet connection, the golden goose is to go viral in one way or another. In 2021, TikTok is the primary avenue for that to happen.

But when Afrobeats singer-songwriter Joeboy's single "Sip (Alcohol)" took on a life of its own as a TikTok challenge — where fans pour hard liquor and palm oil down their throats — he wasn't comfortable at all with the way he went viral.

"I was very, very intentional: 'That's why I sip,'" the Lagos, Nigeria, native tells GRAMMY.com at a Manhattan hotel lobby. "Not drink, or gulp, or pour — so I wouldn't be misleading people, encouraging them to get drunk or wasted." While Joeboy enjoys a glass of white wine like anybody else, the single isn't about drinking oneself blind; it's an ode to chilling out and escaping life's worries.

This aligns with the overall message of Afrobeats, an often dreamy and luxurious genre currently taking over the world. Sure, there are turn-up songs to be found, but you're just as likely to find ethereal, therapeutic ballads that deal with matters of the heart.

And if you're looking for that particular vibe, Joeboy, who released his debut album Somewhere Between Beauty and Magic and appeared on Major Lazer's GRAMMY-nominated album Music is the Weapon in 2021, is one to seek out immediately. (He has an as-yet-unnamed EP on the way — look out for that in early 2022.)

GRAMMY.com caught up with Joeboy to discuss the true meaning of "Sip (Alcohol)," how an Ed Sheeran cover rocketed him into the stratosphere, and why he has no plans to rest on his laurels in the 2020s.

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This interview has been edited for clarity.

"Sip (Alcohol)" has a lot of momentum right now. I hear you had to tell your fans to not do a TikTok challenge, though.

On TikTok, it was getting really, really crazy. People started pouring stuff [everywhere]. It was kind of off-brand for me. It was portraying the song in some kind of light that was not intended, so I had to speak up on that. People were drinking palm oil and pouring stuff on everybody.

They were drinking palm oil?

Yeah. It was crazy, man. It was a trend. It looked bad. When you come to an extreme like that, just chill.

What message were you trying to send with the song?

I'd say, in life, we all have challenges. It's never-ending. It never stops. Sometimes, you need a break — a temporary escape.

For me, at that point, it was wine. I like white wine. So, I was in Ghana just staring at the sky, and these words just came into my head [Sings softly] "That's why I sip my alcohol/ I don't wanna reason bad things no more." It's a feel-good song. Regardless, there'll be challenges, but we need to enjoy ourselves at the same time.

Right, so it's not about getting wasted. It's about chilling out.

That's why I said "sip." I was very, very intentional: "That's why I sip." Not drink, or gulp, or pour — so I wouldn't be misleading people, encouraging them to get drunk or wasted.

Joeboy. Photo: Williummm

While crafting "Sip (Alcohol)," what did you want to draw from, aurally speaking?

Right now, I'm listening to a lot of dancehall songs. I listened to a lot of Bob Marley, so that was kind of the influence. I really just wanted to switch my songs up. I felt like it was time for me to evoke something [different]. Variety is the spice of life. Regardless of how good or great it is, people get a different side.

I was trying to reach a large audience and court them with a song that everybody can relate to from all walks of life.

And what are you trying to impart with your next project?

I'm just trying to tell my story, firstly — connect people and give them music that makes them feel good, with good messages. That's the idea of the next album — singing about real life, basically.

So, what is your story? Can you relay it to me in a microcosm?

Growing up, for me, I had a lot of experience through music, through going to college at the University of Lagos. The music was based on my love life, pulling from my experiences and lifestyle. Things I've seen people do. The way your environment influences you.

I was born in Lagos. It was crazy, it was fun. I think Lagos is one of the best places. It's very, very wide and populated. Lagos is a fast city, so you have to be sharp. You have to be on your A-game. This morning, I was feeling like New York is like Lagos, in a way.

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Is Lagos crazy in a good way?

In a good and bad way. Sometimes, it's in a bad way. I think it's pretty typical of densely populated cities.

What inspired you to get into the music business and devote your life to this?

Destiny. I always loved and enjoyed making music. Starting out, I just kept pushing in that direction. I felt like that was the only way I was headed. I remember all I did was make music for fun.

I used to record a lot of popular songs by Ed Sheeran. I recorded "Shape of You." I posted it on my Instagram and it went viral. That's how I met [fellow Nigerian singer/songwriter and Joeboy's mentor] Mr Eazi. He sent me a DM and we started working together. And from there, I took music more seriously.

So, it's always been a big part of me. My dad used to play the keyboard in church. My brother used to play the guitar. I sang in the choir. I was always involved in it. Life kept pushing me in that direction.

"Shape of You" definitely has some international flavors.

It has the beat of dancehall, pop, R&B… it's a worldwide song, basically.

I feel like Ed Sheeran and Drake did a lot to push those genres to the forefront.

It's been amazing. I'm so happy that the Afrobeats sound is becoming a world-renowned sound, like Wizkid, Burna Boy and Davido. It's going to open more doors for African music, and it's been great.

Joeboy. Photo: Williummm

Back to the "Sip (Alcohol)" video. What would you want to say to people who took in a weird spirit?

I think it was just an issue where negativity gets [out there]. I don't mean everybody was doing weird stuff. I posted on my page today the positive sides of a vibey song like that. It's cool — it's not cranky. It just started becoming a trend, and I wasn't comfortable with that, maybe.

Where do you see yourself going in the future? Do you feel that your best music is ahead of you?

Definitely, definitely. It gets better for me. I don't dwell on my achievements for too long. I celebrate my achievements, but you always have to keep it up. You can't just say "I have a No. 1, so I'm going to just chill." The world keeps revolving, and you have to keep moving. So, definitely, my best songs are ahead of me. I'm sure of that.

I'm one of the biggest Drake fans ever. I'm a big fan of Drake and Chris Brown. I watched a documentary on them, and I saw how they work. They don't stop. If you want to stay hot, you have to keep working and improving yourself. That's what I believe in.

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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."

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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.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

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." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Michaël Brun's new EP has almost three times as many guests as it does tracks. And he's keen on you knowing about them.

The first tune on Fami Summer, which arrived July 21, features SAINt JHN, Charly Black and J Perry, with an uncredited J Balvin verse. "Shut Up & Dance" is augmented by King Promise, Kes and Anthony Ramos. The third and final cut, "Closer," enlists Stalk Ashley and Kojey Radical.

But it's not guests for the sake of guests: the Haitian DJ and producer does everything with keen intentionality. "Everybody has a perspective," Brun tells GRAMMY.com. "The chance, the opportunity, to bring my culture and all these amazing artists from Haiti and around the world in one space was something that I've always wanted to do."

He's referring to his volcanic SummerStage performance in New York's Central Park, a day after Fami Summer's release. But it applies to that EP, and his artistic presence writ large.

Brun was brought up in Haiti, where he was exposed to a multiplicity of sounds and styles; as the years rolled on, he acutely perceived the Caribbean's ripple effects, between its various islands and around the world. Accordingly, "I felt like the EP could really encapsulate all the different things that made me who I am as an artist today," he says.

Read on for an in-depth interview with Brun about his globe-spanning Summerstage performance, his impressive roster of guests on Fami Summer and the complicated and evolving role of Haiti in the global music landscape.

This interview has been edited for clarity.

Tell me about your recent Summerstage performance. How did it feel up there?

That was, like, a personal achievement. I've been dreaming about a show like that most of my life. I got to bring out so many iconic artists from Haiti. We had, like, 5,000 people out there.

Tell me about those artists you brought onstage.

I had a really, really big group of artists that joined. For the opening, there was DJ KOLO, a great DJ from Haiti. Right now, he has his own scene that he's been working on in the north. He has a lot of house music influences, Afrotech influences.

And then, Paul Beaubrun, who's a really good friend — one of the original people I started with, like seven years ago. He has an incredible band.

So, they performed, and then during my set, the idea behind this show is: I DJ and MC, but then bring out all these different surprise guests throughout the night. Each of the surprise guests is really meaningful to me in different ways, and some of them are from Haiti.

One example is Naika. There was another artist called Anie Alerte. One more is J Perry, who [worked with me on] my new song, "Jessica," on my EP.

So, those are some of the Haitian artists, but then I also had Saint Levant, who worked on my recent song, "Sak Pase." And Joeboy from Nigeria. Anthony Ramos. So, there's a really interesting mix of all kinds of artists from around the world that I've collaborated with.

For the people who came to the show, they were just hearing the set, and there were surprises every five minutes, which is pretty nuts.

Joeboy was one of the first Afrobeats artists I interviewed when I got hired at GRAMMY.com. What do you take away from him?

I love Joeboy. I've known him for a few years through Mr Eazi, because I worked really closely with Mr Eazi for a while; now, he's become a really close friend.

[Joeboy and I] actually have a new song that's going to come out soon, called "Game Over." We premiered it at the show, and actually shot the music video the day before. So, he came from Nigeria, and that was one of the really big surprises I'm happy we got to make.

**You released three singles earlier in 2023; now, you're back with new music. Tell me about your creative path to this new EP, Fami Summer.**

This year's releases are my first releases with a major. My entire career, I've been indie. I just always felt like I didn't want to do any kind of label partnership until I found partners that really believed in the vision that I had.

As an artist, I've always wanted to make music that builds bridges around the world. So, I felt like with the first three releases, we really focused in on specific areas around the world.

So, "Clueless" was Nigeria, with Oxlade. "Charge It" really felt that confluence. That was with Bayka, who's actually from Kingston; Masego has Jamaican heritage; every time I ever linked with Jozzy, she always talked about how much she loved the dancehall. Then, "Sak Pase" with Saint Levant and Lolo [Zouaï] was very Arabic influenced.

With the EP … I really wanted to bring together my personal heritage as much as possible, which is a mixed Caribbean heritage. There's as much Haitian influence as there is Guyanese influence as there is Jamaican as there is West African, by way of the UK and Europe.

I think because I grew up in Haiti, I was exposed to so many different styles — so many different languages and sounds. So, I felt like the EP could really encapsulate all the different things that made me who I am as an artist today.

Musically, where do all these strains of influence connect for you?

I feel like around Haiti in particular, there's such an interesting history of multiple countries having links to that part of the world. 

So, whether it's European presence, whether it's the incredible West African presence that still exists today … if you even look at the different languages that are spoken throughout the Caribbean, whether it's English or Creole or French mixed with our local languages … In Haiti, we have Creole; but then in Jamaica, there's patois.

All those things are kind of related. If you didn't really know that, you might see them as disparate parts of the world. But really, I think the Caribbean is just as Latin as it is African as it is European as it is local and native. I feel like that diversity of sound is what makes the Caribbean what it is — about diversity of culture.

I grew up traveling to Guyana, and I grew up in Haiti. Sometimes, I would come to the States, and I had a chance to go to Europe and West Africa. All of these different influences, I think, made me appreciate different sounds.

That's how I approached every single song: I wanted this to be the truest version of myself, to the music and the collaborators as well.

Can we do a lightning round where you talk about the special guests on the EP, starting with Anthony Ramos?

Anthony, I linked with a couple of years ago now, and we've been working on music and became such good friends. He's one of the most talented people I've ever met. I think most people know him as an actor, but he's also an amazing dancer and singer. He can rap; he can write. It inspires me a lot.

Charly Black?

Charly Black is such a legend. Like, "Gyal You a Party Animal" is one of the biggest Jamaican hits, I think, in the last decade. And that's one of the songs that truly crosses over, because it's something you can hear at any bar, anywhere in the world.

When I went to Kingston earlier this year and had a chance to work with him — especially on the song "Jessica," to get his voice and perspective — that was so cool.

J Perry?

J Perry is actually my cousin; we grew up making music together. He also happens to be, in my opinion, the best hook maker in the world. So undeniable, so catchy, and I think every time we've ever worked together, there's been only great stuff that's come from it.

Kes?

Kes is from Trinidad, and he has really been my doorway into soca culture and Trinidadian culture. He also has become such a great friend. I feel like the way that he approaches his craft is very similar to my own. It's been so cool with that cultural exchange; we talk a lot about history, actually.

King Promise?

King Promise is, in my opinion, one of the rising stars of Ghana. His hook on "Shut Up & Dance" was so infectious. I remember I sent him that beat a few years ago, and he came back within, like, five minutes. We actually met finally properly in person on Saturday, at my show. He's such a cool guy and really embraced being part of this project.

Kojey Radical?

We linked up last year for the first time, and I was a huge fan of his project. I felt like his artistry, aesthetic and vision are so unique. He's really, really versatile. His voice is really powerful. I'm grateful to see an artist always open-minded to try new things, but also very much themselves the whole way through.

SAINt JHN?

My guy and my brother. We linked up five or six years ago. I feel like he played me his first collection way, way back through a mutual friend. To see his career rise and everything that he's done has been so cool. 

Finally, we have Stalk Ashley.

I actually also met her on my Kingston trip earlier this year, and she is so amazing. Such a sweet person — super, super talented. We actually worked on that song together, maybe the second day that I was in Jamaica, and it just came so naturally. She's really inspiring, and I'm a fan of her music.

From there, can you talk about the role J Balvin plays in the EP, and in your musical world at large?

We've worked on so many projects over the years. We first linked up for the World Cup in 2018, and had a song called "Positivo," and then worked on his [2020] album Positivo. 

We won a Latin GRAMMY from that, and have also been working on a lot of other projects throughout the years and become really, really close friends. He's been an amazing mentor, and also a great collaborator, and I've learned so much through him.

He also introduced me to so many amazing people, like Ed Sheeran. I think with the song "Jessica," it's our first true collaboration for my project. It couldn't have been a more perfect time, because it was right in the center of where our tastes align. 

We've been working for years and years, and I feel like we're going to keep working, as well, in the future. To hear him sing in Creole on our song is really, really exciting. I'm grateful to him for opening his world to my songs and my audience, and I feel like we've influenced each other quite a bit.

Before we go, I'd love to hear your thoughts on this: as borders continue to evaporate in the music industry, where does Haiti fit into this puzzle?

I think Haiti's impact in music and culture has been around, like, low-key. 

So, even if we go to the most obvious Haitian success story, which, in my opinion, is Wyclef and the Fugees, I think their impact is maybe a little bit understated still today — because The Score is still [one of the top] selling rap albums in history. 

To have a Haitian voice have such a huge impact, and then be such a prolific producer, bringing a Haitian flag on TV on the biggest award shows like the GRAMMYs and all kinds of really incredible places — I think that paved the way for future success stories.

And two more recent ones that I know personally are D'Mile and Kaytranada — two artists that have done such incredible things in their respective spaces.

I think the Haitian success stories have been there, but they're not, I think, going to start becoming way more forward facing, as opposed to being more in the background, just because the world's starting to be more open to different languages and new sounds.

I feel like my place in all this is: I feel like a bridge between the diaspora and Haiti. I feel like I'm super connected to both sides of my heritage. I've worked so hard to create a space that feels very welcoming, that feels like a way for people to reconnect with their culture.

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Joeboy traces the trajectory of a doomed relationship in his song "Contour," a haunting, piano-driven ballad that doesn't shy away from the paradoxical complexities of a love story that is fraught and painful — but ultimately still worthwhile.

"A contour is something that is not straightforward, that's not symmetrical, not a straight line," the singer said in a statement. "This song deals with the contour of a relationship. It's a heartbreak song, but it's a 'feelgood' heartbreak song."

In this episode of Global Spin, Joeboy brings all the counterintuitive details of his song to life with a moody performance of "Contour." He stands at a microphone, singing under a spotlight next to a small table decorated with a vase full of blue flowers. Fog and darkness surround him, but peeking out of the shadows, the viewer can see glimpses of the instruments being played by his backing band.

While the main focus is on the song's story, a melodic accompaniment from a keyboard helps up the drama, as does the soft addition of a string section. Altogether, Joeboy paints an angsty picture of a breakup in his song, focusing on the complexities that made a relationship worthwhile — even as he faces its demise.

"Contour" arrives as Joeboy sees a massive career upswing thanks in part to his 2021 megahit, "Sip (Alcohol)," which has netted over 400 million streams. The Nigerian singer also expanded his global reach in 2022, embarking on his first U.S. tour early in the year.

Aside from "Contour," Joeboy also released his single "Likkle Riddem" this year. Both songs preview his upcoming album, Pon Deck, which is due in early 2023. 

Press play on the video above to watch Joeboy's moody performance of "Contour," and check back to GRAMMY.com for more episodes of Global Spin.

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

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

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

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

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

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

Say She She

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

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

Moniquea

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

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

Shiro Schwarz

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

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

L'Impératrice

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

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

Franc Moody

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

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

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