Just five months after the release of his sixth studio album, Justice, Justin Bieber has broken the internet. As Spotify's all-time most listened-to artist, the Canadian singer nabbed a total of 83.3 monthly listeners, based on the platform's July data. Tailed by The Weeknd (74.53 million monthly listeners) and Ed Sheeran (72.41 million monthly listeners), Bieber has remained on the charts, credited to surprise features over the summer and his "Peaches" collaboration with Daniel Caesar and Giveon.

Following the release of Justice, Bieber joined The Kid LAROI on the young Aussie rapper's single "STAY"—which has spent four weeks at No. 1 on the Billboard Hot 100—along with the remix of "Essence" by Nigerian artists WizKid and Tems. Featured on the deluxe re-release of WizKid album Made in Lagos, Bieber's appearance on "Essence" was accused of cultural appropriation on social media, but also received a global push on the Billboard charts, debuting at No. 82 on the US Hot 100.

In an oral history article about "Essence" by Rolling Stone, Bieber's DJ and personal A&R Tay James explained Bieber's impact on the song's remix:

"When Justin hops on a record, he'll take it from just being a hip-hop or an urban or an Afrobeats record. It's going to bring other eyes; people who probably didn't even know about the record," James said. "Now they hear it, and now they know who Wizkid is. So, that's part of the reason why we want[ed] to hop on it, too, also just to shine light on these talented artists, which is what I think Justin is really good at."

With over ten years at the top of his game, breaking Spotify's all-time monthly listener record is yet another notch in Bieber's career trajectory and a milestone in his multi-genre influence.

For The Record: How Aaliyah Redefined Her Sound And Herself On 'One In A Million'

If the inaugural AfroNation Miami could be described in one word, it’s hot — in all its meanings. 

With thousands of tourists descending on Miami for Memorial Day weekend, many of them celebrating Urban Beach Week, it should be a no-brainer to have a festival focused on Black artists and music from around the world. The thing is, Florida gets pretty balmy in the summer — in the 80s and 90s every day — and the high-humidity heat during the two-day fest felt almost unbearable at times. But artists and fans alike didn’t let the climate ruin their good time. 

An incredible selection of talent from across the African diaspora played to an approximately 20,000-strong crowd at LoanDepot Park, usually home of the Miami Marlins. Stars of the Nigerian Afrobeats movement including Burna Boy, Asake, and WizKid gave pulse-pounding performances, joined by Caribbean artists such as Jamaican dancehall talent Mavado and Panamanian reggaetonista Sech. Just outside on the stadium plaza, an entire stage of South African amapiano DJs and MCs kept the sweltering crowds grooving until late into the night. 

There were a few snags common to festivals. Some artists, like WizKid, showed up late to their sets. Others, like Beenie Man, dropped out entirely, only to be replaced by the charismatic up-and-comer Shenseea. But more often than not, the international crowd was granted a formidable festival experience, anchored by extraordinary sets from some of the best Black artists in the world. Read on to discover seven of the most jaw-dropping sets from AfroNation Miami. 

Asake Bares All-In Enrapturing Performance

Not even  clothes could contain Asake’s exuberance — the Nigerian Afrobeats rookie basically undressed himself slowly during his half-hour performance. First he threw away his neon green wraparound shades. Then he ditched his Louis Vuitton jean jacket on the stage floor. His chunky silver sneakers came off at one point, and he finished the rest of the set walking around in his socks. His ear monitor fell out during one of his many twirling dance moves and had to be replaced later by a stagehand. 

Eventually, that left his white tank top, which he’d been using to wipe away sweat for the whole performance. That came off at the climax of the show, when the singer stepped over the barrier to commune with the crowd. As a security guard supported him he leaned back in a crucifix pose, letting fans tug at his shirt until he finally tossed it into the throng. 

Asake has come a long way in a very short time. The 28-year-old dropped his first album just last year and has been making the media rounds in the states, appearing on "Jimmy Fallon" and "Good Morning America." He’s a star on the rise, representing the new wave of Afrobeats, its embrace of continent-spanning sounds like amapiano (which he namechecks in the title of one of his biggest songs), and its potential to go even more global than it already is. 

His stage presence signifies his world-conquering potential. He doesn’t interact with the crowd like Ckay or Burna Boy. He dances and sings, in a deep, sonorous voice, as if possessed by some spirit, staring into the middle distance, concentrating on nothing but leaving it all on the stage. It’s almost as if he was in a trance, and the moment he walked off after performing "Mr. Money," it felt as though everyone present had all snapped out of one as well, hypnotized by this one-of-a-kind talent. 

Black Sherif Spits From The Streets

Although he played to a sparse crowd early Saturday, Ghanaian rapper Black Sherif didn’t let that stop him from giving a blistering performance. Fans holding signs thanking him for songs such as "Second Sermon" had camped out in front of the stage, and he didn’t disappoint them, delivering a passionate sermon from the streets. 

As a proponent of the gritty Ghanaian offshoot of UK drill known as asakaa, Black Sherif was one of the few hip-hop-oriented acts on a bill dominated by pop and Afrobeats stars. He told stories of darkness and heartbreak with incredible focus and intensity, almost shouting his lyrics at the crowd in a raspy voice. Songs such as "45" feature lyrics in English and Sherif’s native language of Twi, and to his credit, his delivery was flawless through the entire set. He didn’t skip a single word, which is more than can be said for many American rappers. 

The drama of Black Sherif’s passionate performance climaxed with his final song, the hit "Kwaku the Traveler," weaving a tragic tale of falling from and grinding his way back to success. About 30 seconds in, the DJ let the beat drop out, leaving the rapper to finish the song with a captivating a capella. 

Burna Boy Withstands The Heat For Fuego Saturday Closing Set

Drenched in sweat, even Burna Boy eventually needed a break from the heat. After eight songs straight of passionate performance, he finally turned to a stagehand and declared "I’m gonna need some water." 

The fiery performance was the climax of AfroNation’s Saturday lineup, and Damini Ogulu did not disappoint. Backed by a full band even larger than Asake’s, with backup singers, dancers, a brass section, and a drumline playing African percussion instruments, the global superstar dripped with charisma as well as perspiration. His million-watt smile shone brighter than any of the lights in the LoanDepot Park stands as he strutted around the stage and blazed through solo renditions of his biggest hits, including "Secret," as well as tracks from his recent album Love Damini such as the Ed Sheeran collab "For My Hand." 

With pyrotechnics, smoke machines, and a stadium full of adoring fans at his disposal, the king of Afrobeats put on an incredible spectacle in Miami, with the most iconic moment coming at the end as the entire ballpark sang the chorus of "It’s Plenty" a capella. But an even more iconic moment may have been after performing his Dave collab "Location" when he recovered a Haitian flag, waved it around, and wrapped it around his neck like a bandanna. Out of all the flags being waved in the audience, this is the one that matters most in Miami with its huge Haitian diaspora population. And when Africa’s biggest star bore it proudly, the crowd erupted. 

Ckay Celebrates Love And Money On The Main Stage

Before he went onstage at AfroNation Miami, Ckay’s DJ declared him "Africa’s number one boyfriend." It was easy to see why: Not only did he perform some of his most romantic songs, but the Nigerian singer spent much of the show making eyes at the crowd. And making heart symbols with his hands. And peace signs. 

It seems the fans loved him back. The phones all came out upon hearing the opening strains of closer "Love Nwatiti" (a massive international hit and the first No. 1 on Billboard’s Afrobeats chart) and the crowd roared with approval upon hearing the sweet guitar melody on "Emiliana." "This is my first time doing this song in Miami, I want you to make some noise!" he declared. 

The show wasn’t all about romance, however. Penultimate song "Hallelujah" is an ode to cash money, and Ckay displayed his clout by bringing out featured rapper Blaqbonez to perform his verse. "If you wanna make some money this year say ‘Ohhhhh,’" the singer said to the crowd before jumping into the amapiano-influenced track. Money and talent — maybe he would make a good boyfriend. 

Major League DJz Offer A Scorching Set Of South African Sounds

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More than anyone else at AfroNation, Major League DJz showed the world-conquering potential of amapiano.

Closing the stage on Sunday night, the duo ran through a scorching set of amapiano favorites, even slipping in an immaculate remix of Beyoncé’s "CUFF IT" while a succession of MCs pumped up the crowd. Shifting the vibe at will — from intense, futuristic rave and trance-indebted synth tracks to lighter tunes with soulful piano and organ chords, and always with eruptions of log drum bass and skillfully-deployed delays, filters, and other effects — they kept the crowd enraptured and in thrall to the power of ‘piano. So deeply in command of the audience were they that a guest appearance midway through the set threatened to derail it entirely. Atlanta rapper Kali took the stage to perform her song "Area Codes," and the trap-influenced track felt like a wrench thrown into the Majors’ finely-tuned amapiano machine.

Kali wasn’t the only guest appearance, as by the end of the set, it felt as though the entire Piano People collective had come on stage. Over a dozen people stood behind, in front of, and even on top of the decks, celebrating their success and lending their collective energy to give the performance a feeling of unstoppability. The MCs hyped up the crowd, the dancers (including the previous night’s headliner Uncle Waffles) danced, and the rest basked in the vibes of the by-then-bursting crowd. This is how Africa raves, and the rest of the world would be smart to follow along. 

DJ Uncle Waffles Brings Impeccable Femme Energy To Piano People Stage 

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While the stars of Afrobeats took the stage inside on the LoanDepot Park field, outside the stadium the Piano People stage had the feel of a block party. Focusing on the ascendant South African dance genre of amapiano, the stage brought some of the scene’s biggest talents to Miami.

It was Saturday night headliner Uncle Waffles, also the only female artist to headline either stage, that offered the purest take on what makes the genre exciting. Looking like a Matrix character in a black jumpsuit and neon-green hair, the South Africa-via-eSwatini DJ put up a powerful mix of amapiano tracks, including her own massive hit "Tanzania." The pulse of the log drum bass and the steamy rhythms felt right at home in the swampy humidity. 

While many of the loudest, most energetic voices at the stage were MCs such as Focalistic and Musa Keys, Waffles, despite primarily DJing, quietly behind the decks. She would often start a track and jump to the front of the stage to join her dance troupe, themselves dressed in cheerleader-style outfits, in thrilling, coordinated dance routines. The energy and enthusiasm onstage and in the crowd manifested itself the most in these moments. 

WizKid Shows He's The Star Of The Show

WizKid knows he’s a star (he was calling himself "Starboy" long before The Weeknd) and at his festival-closing set on Sunday night, he delivered a star experience, taking the stage from atop a massive stair-shaped backdrop designed to let him descend from high above the rest of us. 

Wearing sequined black pants, a leather fedora, and shades that never left his eyes, Wizzy strutted back and forth on the stage like a proud lion, performing the biggest hits from his massive catalog. Some guests came out, such as Buju for "Mood," while the artist let the crowd sing-along to Drake’s verse on "Come Closer." The instrumentals seemed to switch between a DJ and a live band, both of them obscured by the stage setup. 

At other sets such as Burna Boy and Asake, the band was a major feature; here there was nothing to distract the crowd from Big Wiz. He absorbed their love like a sponge, and may have caught some thrown underwear from the crowd too. 

Much was made by the artist of the global nature of the crowd. Wizzy started out his set by shouting out all the Caribbeans, from Jamaica to Trinidad and certainly Haiti, present in the audience, before moving on to Africa. "I see your flags, I see you repping for your country right now," he said. "This is a sexy ass crowd tonight, baby!" 

Beyond Coachella: 10 Smaller Festivals Beloved For Their Homegrown Vibes & Huge Lineups

2022 was a glowing year for R&B, with newcomers and legends alike shattering claims that the genre is on the brink of losing its popularity. It was quite the opposite, actually — newer R&B stars like Flo helped revive '00s nostalgia, and veterans like Babyface showed that there's strength in collaboration.

As the world re-emerges from the pandemic, artists channeled a brighter energy in their music, using more upbeat melodies and lyrics that emphasized fun and romance. Chlöe provided the twerk-friendly anthems, while FKA Twigs' Caprisongs mixtape featured a song for every kind of party imaginable.

There were plenty more R&B stars new and old who contributed to the genre's shine this year. Below, revisit some of 2022's biggest moments in R&B.

The Ladies Seduced Us

R&B has always maintained a sensual core, and the women of the genre confidently reminded listeners of that fact throughout 2022. On her second album Age/Sex/Location, ​​Ari Lennox explored the ebbs and flows of lust with songs like the NSFW "Leak It" (featuring Chlöe) and the flirtatious "Hoodie." Chlöe also continued to unleash her seductive goddess on her solo single, "Surprise."

Two years before SZA dropped her long-anticipated second album, SOS, in December, she showed off her pole-dancing skills in a 2020 Instagram post teasing single "Shirt." (And when lead single "Good Days" arrived in March, she continued her seduction in the outro of the music video.) The LP details the journey of post-lust heartbreak and how to regain one's confidence, from the sneaky affair of "Low" to feeling empty on the punk rock-inspired "F2F."

Peacock's Bel-Air star Coco Jones proved her singing ability was equally as strong as her acting skills, as she captured hearts with her debut EP, What I Didn't Tell You, including the yearning single "ICU." Amber Mark, also a fellow newcomer, released her debut album Three Dimensions Deep. The LP features an array of genres, but songs like "Softly" are what really entranced listeners.

Singers From Across the Pond Ruled

The appreciation for R&B spans shores, and British artists delivered fresh spins on the genre. Cheltenham's FKA Twigs set the energetic tone with the January release of her first mixtape, Caprisongs, which is filled with a kaleidoscope of sounds from drum and bass to trap. Leicester's Mahalia navigated heartbreak with her Letter To Ur Ex EP. Southampton native Craig David tapped back into his '00s style with his nostalgic eighth album, 22, which opens with an interpolation of fellow R&B star Jon B.'s 1998 classic, "They Don't Know."

After winning over stateside fans in 2018 with her GRAMMY-winning single "Boo'd Up," London-born Ella Mai returned with her sophomore album Heart on My Sleeve — a self-described "therapy session" that highlighted the artist's diaristic songwriting. London also spawned a new girl group this year with Flo, a trio who channeled the heydays of '00s pop&B with their debut EP, The Lead.

Afrobeats Trickled Into The Genre

Afrobeats' international popularity has surged over the past few years, so much so that other genres are now borrowing its infectious groove. This year, R&B singers infused the genre into their own sounds, further showcasing Afrobeats' versatility.

FKA Twigs' Caprisongs features "Jealousy," a mellow collab with burgeoning Nigerian artist Rema. Two months later, Rema dropped R&B-infused music of his own on his debut album, Rave & Roses, which featured guests like 6lack and Chris Brown.

The month of June gave way to sweltering summer collaborations. Diddy paired up with Bryson Tiller on the brooding "Gotta Move On," which scored the music mogul his 11th No. 1 on Billboard's Adult R&B Airplay chart. And in true Diddy fashion, he dropped a "Queens" version featuring Yung Miami and Ashanti.

Not long after, Chris Brown and Wizkid joined forces for "Call Me Every Day." Marking their third collaboration, the sultry smash illustrated just why they're crowned the princes of R&B and Afrobeats, respectively.

Artists Took It Back To The Club

R&B is not always about love songs and heartbreak. Rather than dwell in their feelings, a handful of singers opted for a more lighthearted approach in their music. After jumpstarting her solo era with last year's booty anthem "Have Mercy," Chlöe kept the ode to curves going with "Treat Me." Built atop a sample of Bubba Sparxxx and the Ying Yang Twins' 2005 hit "Ms. New Booty," "Treat Me" is a self-confidence anthem.

Baby Tate also borrowed an Atlanta crunk staple from the same year for "Ain't No Love." Featuring fellow Georgia native 2 Chainz, the bouncy tune samples Ciara's "Oh" collaboration with Ludacris, spinning the '00s classic into a modern-day jam.

On the opposite coast, Los Angeles' own Blxst solidified his signature laid-back style with his debut album, Before You Go. Lead single "About You" is best served with a cold one and a two-step.

Kehlani then took listeners to their native Bay Area with April's Blue Water Road album (where Blxst also makes an appearance). The Slick Rick-sampling "Wish I Never" is the ultimate '90s house party jam while the upbeat "Up At Night" with Justin Bieber will do just what its title implies.

Other club genres also came into play, with Ravyn Lenae experiencing house euphoria on Hypnos' "Xtasy" and FKA Twigs going full dancehall alongside shygirl with Caprisongs' "Papi Bones."

There Were Many '90s Celebrations

The '90s still has a tight grip on R&B's current sound, and the artists who ruled that decade proudly reminded us of that fact in 2022. For the 25th anniversary of Mariah Carey's transitional Butterfly album, the icon released a special re-edition that features an updated version of "The Roof" (with added vocals from Brandy) and "Whenever You Call" (with Brian McKnight), a live version of "My All" from VH1 Divas Live, the "Amorphous Anniversary Club Remix" of the title track and more.

Usher also got in the commemorative spirit, releasing My Way (25th Anniversary Edition) — which happens to share the same Sept. 16 anniversary as Carey's Butterfly. The new edition included reimagined versions of three tracks: "My Way (Ryan James Carr Remake)," "Nice & Slow (Ryan James Carr Remake)" and "You Make Me Wanna… (Ryan James Carr Remake)."

To commemorate another 25th anniversary, Erykah Badu celebrated her GRAMMY-winning Baduizm debut with a pair of shows at London's Royal Festival Hall.

Other '90s celebrations came from R&B quartet Xscape, who received the Lady of Soul honor at the 2022 Soul Train Awards, and new artist LAYA, who honored Missy Elliott with a cover of the rapper's 1997 single "Sock It 2 Me" for Women's History Month.

Alt-R&B Girls Made A Return

The beauty of R&B is in its sonic diversity. Alternative R&B has blossomed in popularity over the years, and 2022 saw the return of some of the subgenre's leaders.

Santigold made a thrilling return with Spirituals, the singer's first album in six years. An emotional journey through lockdown, the LP fuses gospel, electronica, punk and pop, all tied together with Santigold's signature yelps.

Another long-awaited comeback came from Kelela, who re-emerged in September after a five-year hiatus. Her single "Washed Away" is the launchpad to her second album Raven, which will be released next February. "Raven is my first breath taken in the dark, an affirmation of Black femme perspective in the midst of systemic erasure and the sound of our vulnerability turned to power," Kelela shared in a press release.

Although Solange didn't give fans new music in 2022, the singer was honored with the 2022 NYU Global Trailblazer Award for Creative and Artistic Excellence in March. And ever the ever-unpredictable star, she composed a score for the New York City Ballet that came to life with a performance at the Lincoln Center in September.

Old School Met New School

This year, there was no separation of generations. Rather, the "legend vs. newcomer" hierarchy was completely dismissed, as artists from the '60s to today joined forces in the recording studio.

Ronald Isley and Beyoncé wooed soul fans with their rework of "Make Me Say It Again, Girl," which originally appeared on the Isley Brothers' 1975 album, The Heat Is On. Isley's wife/manager Kandy told Billboard that Beyoncé's mother Tina Knowles-Lawson was integral in the collaboration, marking a full-circle moment for the star, who grew up listening to the group. "The fact that they are giving us permission to put it out at this time is just overly special," Kandy said.

Ciara and Summer Walker's lilting vocals complemented each other on "Better Thangs," while  SZA (whose stage name pays homage to Wu-Tang Clan member RZA) featured the late Ol' Dirty Bastard on SOS. Elsewhere, PJ Morton's latest album is a celebration of collaboration, with guests Stevie Wonder and Nas on "Water," and Jill Scott and Alex Isley on "Still Believe."

In October, Babyface passed down his GRAMMY-winning torch to the women of R&B with his collaboration album, Girls Night Out. Solely featuring the new generation of female singers, from Muni Long to Ari Lennox, the album showed that romance has no age.

Mary J. Blige donned her Queen of Hip-Hop Soul crown on her latest album, which features rappers like Dave East and Fivio Foreign. On the opposite end, Toronto R&B duo dvsn teamed with male R&B group Jagged Edge on "What's Up" from the former's Working on My Karma album.

Whether it was R&B's legends or promising newcomers making waves, this year had plenty of proof that the genre is still thriving — and never going anywhere.

R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

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

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

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

House Infused Pop

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

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

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

Artists Respected The Roots

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

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

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

Women Took The Techno Reins

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

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

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

The UK Came Through

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

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

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

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

Tech-House Went Further Mainstream

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

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

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

EDM Nostalgia Lived On

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

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

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

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

TikTok Made Dance Hits

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

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

Rave Was Recontextualized

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

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

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

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

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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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