By 2002, it was pretty clear that Justin Timberlake was an icon in the making. He was positioned as the unofficial frontman of *NSYNC, who were still riding high as one of the biggest boy bands of all time. But Timberlake was eager to ditch the ramen-noodle hair and family-friendly persona for a project that better reflected his artistry — little did he know, it'd solidify him as a superstar.

Justified, Timberlake's debut solo album, arrived on Nov. 5. The 13-track LP delved into the singer's R&B and old-school influences, artistically re-introducing himself while laying the groundwork for the global solo stardom to come.

The album came just six months after <em>NSYNC wrapped what would become their final tour and began an indefinite hiatus. At the time, he insisted the band was "in no danger" amid his solo venture. "There's no reason my solo career and </em>NSYNC can't coexist in the same universe," he told the New York Post.

That quickly proved difficult — Justified was a commercial success, debuting at No. 2 on the Billboard 200 and spawning two top-five singles. Within the next year, the album sold 3 million copies. Timberlake headlined arenas around the world, became the face of a McDonald's campaign, and landed his first double-duty hosting and performing gig on Saturday Night Live. A 2003 Rolling Stone cover story may have epitomized that one reason he could no longer coexist with his *NSYNC bandmates: "Justin Timberlake: The New King of Pop."

The Michael Jackson homage was fitting, as half of Justified was intended for the late icon. As Pharrell Williams confirmed in 2020, he and Chad Hugo (together, known as the Neptunes, who co-wrote and co-produced Justified) initially pitched their album contributions to Jackson. After Jackson declined, the Neptunes brought them to Timberlake, and the R&B-leaning sounds were exactly what he was looking for.

"I was trying to make a multi-dimensional record; a record that captured the vibe of my favorite time in music, the '60s," Timberlake told Billboard in 2002. "For the six weeks that we worked on these songs, I got to live in my own musical dream world and play a little hip-hop, a little old-school R&B, a little classic rock. It was so much fun — and I learned a lot about making music in a totally different way than I was used to."

Those old-school influences come through on cuts like "Let's Take a Ride" and "Last Night," but the prominent takeaway from Justified is that Timberlake was no longer a fresh-faced pop heartthrob. Racier lyrics ("I could think of a couple positions for you" in "Right For Me") and elevated, hip-hop-leaning production (helmed by The Neptunes, Timbaland and Scott Storch) presented a more mature sound that helped him graduate from teen stardom to full-fledged artistry.

Justified also set a new standard for solo stars emerging from a pop group, as his peers who tried before him couldn't quite make the same impact. The Backstreet Boys' Nick Carter released his first solo effort, Now or Never — coincidentally, just one week prior to Justified's arrival — to rather disappointing results, and each of the five Spice Girls' solo albums failed to make major waves. And really, until Harry Styles, no other former boy bander has managed to achieve such success since.

Between its commercial performance and sophisticated sound, Justified was arguably the first time an artist from a contemporary pop group was taken seriously as a solo act. Lead single "Like I Love You" helped set the tone ahead of the album's release, its fiery guitar and drum lines ushering in the more mature sound. The track also scored Timberlake his first solo GRAMMY nomination in 2003.

His subsequent singles — the searing "Cry Me a River" and the dance floor-ready "Rock Your Body" — were what sealed his fate as a solo star, both landing in the top five of the Billboard Hot 100. "Cry Me A River" is still one of Timberlake's biggest songs to date, and earned him a GRAMMY for Best Male Pop Vocal Performance in 2004.

The 2004 GRAMMYs marked another pivotal moment for Timberlake. Just one week after being part of the infamous Super Bowl wardrobe malfunction with Janet Jackson, the singer took to the GRAMMY stage to perform another Justified single, "Señorita," as well as his GRAMMY-nominated collaboration with the Black Eyed Peas, "Where Is The Love." Timberlake was nominated for a total of five awards that night — among them, the coveted Album Of The Year for Justified — and took home two golden gramophones, including the GRAMMY for Best Pop Vocal Album.

Twenty years later, Timberlake now has 10 GRAMMYs and 39 nominations, five No. 1 hits, four No. 1 albums, a Super Bowl halftime headlining gig, and even an acclaimed acting career. When it comes to his evolution from boy-bander to solo superstar, Timberlake may have put it best himself in the 2002 Billboard interview: "There's a lot more to me than people have previously believed." 

Timberlake certainly proved that — and justified his place as the new king of pop. 

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Long before Jack Harlow was one of rap's buzziest stars, he was making music for his middle-school classmates. Even at just age 12, he knew the art of collaboration, teaming up with a friend to create his first album, and later creating a rap collective with other pals. Fast forward 13 years later, and he's teaming up with some of the biggest stars in the industry.

Harlow has counted several superstars as collaborators since signing with Atlantic Records in 2018; just the track list of his second album, 2022's Come Home the Kids Miss You, featured the likes of Drake, Lil Wayne, Justin Timberlake, and Pharrell Williams. So when Harlow surprised fans with the announcement of his third studio album, Jackman, just days before its April 28 release, it was easy to assume he'd deliver more star-studded tracks. 

But upon the album's arrival, there was not a collaboration to be found. Based on Harlow opting to use his birth name as the title of his latest release, it's not all that surprising that he opted to take the no-features route this time around — and even without collaborators, he sounds more confident than ever.

Although Jackman didn't add to Harlow's reputable lineup of guest stars, he has quite the roster already, whether from his own projects or featuring on another artist's track. To celebrate Harlow's new music, GRAMMY.com revisits some of his most memorable collaborations so far.

DaBaby, Tory Lanez, and Lil Wayne — "Whats Poppin" (Remix)

Harlow released six mixtapes and two EPs in the many years leading up to his breakthrough hit "Whats Poppin," the lead single off his debut studio album, 2020's Thats What They All Say. Though "Whats Poppin" certainly isn't the only of Harlow's raps to reflect on the joys of being rich and famous, his hard-hitting delivery on the new remix verse is a standout among the rest.

And with the help of DaBaby and Tory Lanez on the remix as well, the song reached No. 2 on the Billboard Hot 100 — an impressive feat for his first-ever entry on the chart. Not only did the song's commercial success put him on the map, but it nabbed Harlow his first GRAMMY nomination in 2021, for Best Rap Performance.

Drake — "Churchill Downs"

Named after Louisville's iconic racetrack, "Churchill Downs" is a heartfelt ode to Harlow's hometown; the music video was even filmed at the 2022 Kentucky Derby. Backed by a flute-driven beat, the standout track off Harlow's sophomore album, Come Home the Kids Miss You, is a perfect embodiment of his humble beginnings: "All that time in the kitchen finally panned out/ I put some flavor in a pot and took the bland out/ I know my grandpa would have a heart attack if I pulled a hunnid grand out," he raps.

Meanwhile, Drake's guest verse — which calls out the pitfalls of fame — is considered one of his best in recent years, likely due to the level of vulnerability the Canadian rapper is showing nearly two decades into his career.

The rags-to-riches tale resonated with fans and critics alike: "Churchill Downs" cracked the top 10 of Billboard's Hot R&B/Hip-Hop Songs chart, and earned the pair a GRAMMY nomination for Best Rap Song in 2022.

Lil Nas X — "Industry Baby"

Lil Nas X recruited Harlow for his multi-platinum single "Industry Baby," a pulsing track laden with triumphant horns and braggadocious lyrics. Accompanied by a provocative music video where both rappers break out of prison while donning bright pink jumpsuits, the song strategically followed Lil Nas X's legal battle with Nike. But the Kentucky rapper's verse arguably steals the show with brow-raising bars, including "I sent her back to her boyfriend with my handprint on her a— cheek."

The boisterous tune helped Harlow earn his first of two No. 1s on the Hot 100; his second came in 2022 with his solo track "First Class."

Saweetie — "Tap In" (Remix)

Harlow was one of three rap stars Saweetie recruited for the remix of her Too Short-sampling single "Tap In," which also featured Post Malone and DaBaby.

While the SoCal rapper isn't shy about flaunting her physical attributes ("Lil' waist, fat a—") and being able to "bag a eight-figure n—," Harlow just seems happy to be there. "I just crossed over to Top 40/ I can't even say 'Whats poppin?' now 'cause it got corny," he spits before telling listeners that his verse for Saweetie got him "horny."

Big Sean — "Way Out"

A solid single choice following "Whats Poppin" and "Tyler Herro," Harlow and Big Sean's "Way Out" is as straightforward and braggadocious as it is club-ready. Just under three minutes in length, Sean's guest verse does not disappoint — it's packed with punchlines, such as "I'm anointed, I'm the boss/ I done came out of pocket so much/ You thought that I was disjointed."

Lil Wayne — "Poison"

Lil Wayne was no stranger to AutoTune before teaming up with Harlow, but some critics disapproved of his use of it on "Poison," a track from Come Home the Kids Miss You. Even so, his rhyme about stealing someone's girl is pretty iconic: "I might have to jack your b— 'cause I be on my Harlow sh—."

Despite what critics have to say, clearly Wayne enjoys working with Harlow — "Poison" marked their third collab, following the "Whats Poppin" remix and 2020 single "P— Talk" alongside City Girls and Quavo.

Pharrell Williams — "Movie Star"

On "Movie Star," Harlow ditches his humble persona to rap about enjoying the perks of his then-newfound superstardom: money, women, and designer clothes. "Can't imagine being you, ooh, I'd hate to be it / I'm done fakin' humble, actin' like I ain't conceited / 'Cause, b—, I am conceited," he declares on the track produced by the legendary Pharrell Williams, a true indicator that an artist has made it in the music industry.

After Williams adds some of his flair to the chorus, both stars trade off rhymes in the song's final verse. "But do it jiggle though?" Williams asks. Harlow's response? "I feel like the whole damn city know."

Justin Timberlake — "Parent Trap"

The dark side of fame theme resurfaces in "Parent Trap," a collaboration with Justin Timberlake, who lends his signature southern drawl to the chorus. "Every sky can't be blue/ It's hard to see when you're walkin' in the grey/ So many flights, look at how the time flew," he sings.

Though it may not quite measure up to Harlow's top-tier duet with Drake on "Churchill Downs," which tackles similar subject matter, the collab is a fitting one — Harlow referenced NSYNC in "Tyler Herro" just two years prior.

Eminem and Cordae — "Killer" (Remix)

In late 2020, Harlow told GQ that he "grew up listening to Eminem" and idolized him, so it must have been surreal and full-circle when he got to join forces with the 15-time GRAMMY-winning rapper a mere six months later.

Rising to the challenge, Harlow holds his own alongside Em and then-fellow newcomer Cordae, demonstrating strong lyrical wordplay — particularly with lines like "I'm eatin' pizza in Little Italy, damn, I used to hit Caesars."

Even alongside his biggest heroes, Harlow has proven his natural ability to command attention — and though it's just him on the mic on Jackman, he seems poised and ready to see who's next.

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Dance music wouldn't be the same without Daft Punk. In 1993, Thomas Bangalter and Guy-Manuel de Homem-Christo joined forces, not knowing they would become trailblazers of the decade's French house movement.

The duo took their name from a negative review of their former band Darlin', in which their music was criticized as "a daft punky thrash" — and so Daft Punk was born, living up to their name by merging creative absurdity with liveliness. The duo made few public media appearances, quite literally shrouding themselves in mystery through a sci-fi aesthetic accompanying their prolific, contemporary sound.

From their 1997 debut studio album Homework to collaborations with The Weeknd decades later, the duo built their extensive discography on a fearless restyling of electronica. Contributing to dance music popularization in North America with their 2006-2007 tour, Daft Punk is credited with ushering EDM into the mainstream.

Although the duo disbanded in 2021, their influence is everlasting: colorfully blending house with every genre from techno to synth-pop, Daft Punk has proved their creativity knows no limits.

In honor of the 10-year anniversary of the GRAMMY-winning duo's "Get Lucky" and their 30-year career span, take a listen to these 9 funky essentials by Daft Punk.

"Da Funk," Homework (1997)

Tripping into acid house, Daft Punk's single "Da Funk" is a glaring highlight from the duo's debut, Homework. Featuring a squirming, snappy 303 bass line and refreshing disco-inspired sound, the lyricless track is a '90s house classic.

"Around The World," Homework (1997)

Daft Punk's dynamic sounds are staples in clubs all over the world, and part of this is due to the smash success of their single "Around The World." The second single from their debut hit No. 1 on dance charts worldwide, its only lyric — fittingly, "around the world" — repeated 144 times to reach full earworm potential.

"One More Time," Discovery (2000)

Daft Punk regards "One More Time" as the bridge between Homework and Discovery, and this song speaks to the duo's timeless, overarching creativity. Spotlighting their signature auto-tuned vocals and futuristic production, the song is a full-blown celebration. Upon release, the track tied with "Around The World" by hitting No. 61 on the Billboard Hot 100.

"Harder, Better, Faster, Stronger," Discovery (2001)

An instant influential hit, "Harder, Better, Faster, Stronger" combines the keyboard riff from Edwin Birdsong's 1979 funk song "Cola Bottle Baby" with heavily vocoded vocals. The song has been remixed, sampled, and covered dozens of times, and a live version of the track — from Daft Punk's live album, Alive 2007 — took home a GRAMMY for Best Dance/Electronic Recording in 2009.

"Digital Love," Discovery (2001)

Led elegantly by a Wurlitzer and filled with prolonged harmonies, this Daft Punk essential sloshes through a dreamy electropop soundscape. Longing pulses through the textured, technological track, and its softness cushions the song's outlined fantasy in a graceful way.

"Robot Rock," Human After All (2005)

Wonderfully mechanical, Daft Punk's "Robot Rock" is a staple of electronic rock. Its central and only lyric — "Rock, robot rock" — repeats over and over, meshing with a looping synth-led riff and electric guitar power chords. Filmed on VHS, its music video glitters as the first video to star Daft Punk exclusively.

"Starboy" - The Weeknd, Starboy (2016)

The title track from The Weeknd's third studio album, "Starboy," strays from Daft Punk's signature electronic sound, determinedly wandering into edgy pop and R&B. Surprisingly, the collaboration is Daft Punk's first and only No. 1 on the Billboard Hot 100.

"Get Lucky" featuring Pharrell Williams and Nile Rodgers, Random Access Memories (2013)

Pulling in a couple of legends for collaboration, "Get Lucky" strikes a perfect groove as a disco-pop banger about staying up 'til the sun. Starring Nile Rodgers' radiant guitar riff and Pharrell Williams' funky vocals, the experimental song won Record Of The Year and Best Pop Duo/Group Performance at the 56th GRAMMY Awards.

"Derezzed," TRON: Legacy (Original Motion Picture Soundtrack) (2010)

Who better than Daft Punk to craft the soundtrack for a sci-fi film? The pair's robotic aesthetic and futuristic music perfectly complement the 2010 Disney cyberworld film Tron: Legacy, and "Derezzed" stands out as an especially immersive track. At the 54th GRAMMY Awards, TRON: Legacy (Original Motion Picture Soundtrack) was nominated for Best Score Soundtrack Album For Visual Media.

"Lose Yourself to Dance" featuring Pharrell Williams, Random Access Memories (2013)

Pharrell Williams returned to work with Daft Punk for the groovy "Lose Yourself to Dance" in 2013. His vocals float through the song's funky production, and partway through, a multi-layered clap imbues the track with new, crowd-sourced energy.

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Mary J. Blige’s tireless work ethic, extraordinary singing talent and soul-level relatability are the secret ingredients to her longevity as a recording artist. Her discography includes nine GRAMMY wins and 37 nominations, and the multi-hyphenate artist continues to demonstrate that there's no limit to her creativity.

Blige is nominated for six awards at the 2023 GRAMMYs, including Album Of The Year and Best R&B Album for Good Morning Gorgeous (Deluxe). The title track is nominated in three categories: Record Of The Year, Best Traditional R&B Performance and Best R&B Song, and "Here With Me" is up for Best R&B Performance.

Good Morning Gorgeous encapsulates the true self-love Blige felt after healing from divorce, abusive relationships and depression. As she explains on an album interlude "good morning gorgeous" is the affirmation Blige now says to herself in the mornings — and, for the first time, she believes it. And when it comes to the odds of adding to her GRAMMY wins on Feb. 5, it’s safe to wager that Blige thinks they’re sound.

"Bet on me, why not?" Blige sings in the chorus of the album’s "On Top." "Don’t act like I never left on top."

For her resonant musical messages, Blige has been crowned the Queen of Hip-Hop Soul. But  she’s also an industry professional who deftly sets and iterates on trends, keeping even her earliest releases relevant and exciting. 

Blige became a record label boss when she released Good Morning Gorgeous as a joint venture between Lyor Cohen’s 300 Entertainment and her own Mary Jane Productions. She’s a frequent executive producer of her albums and multimedia projects and is set to executive produce two fictional films for Lifetime in 2023 through her production company Blue Butterfly. Real Love and Strength of a Woman are both named for her songs. Real Love is described as a romantic drama set in an upstate New York college. 

After more than 30 years of recording, Blige has amassed an acclaimed and extensive discography of consummate original classics, deep soundtrack cuts, scene-stealing covers and remixes. Press play on the Amazon Music playlist above and use the below guide as a diving board into a career full of the empathetic pain, healing, promise and happiness that she has shared with unflinching honesty and vulnerability.

The Queen Of Hip-Hop Soul

Blige was living in a housing project in Yonkers, N.Y. when the late Andre Harrell signed her to his Uptown Records, which released her 1992 debut album, What’s The 411? Harrell coined the nickname Queen of Hip-Hop Soul to describe the fresh way Blige's music melded rap beats with R&B hooks.

Harrell and his then-intern Sean Combs gave her a rugged style to match her music, with boots and baseball caps instead of heels and sparkles. Young women from the inner city saw themselves in Blige's aesthetic and in her rawness.

Yet admiration for Blige’s powerful vocals and unique tone grew before her name was ever recognized. Blige was first heard as a backup singer for Father MC’s 1990 hit "I'll Do 4 U" and, the following year, her own single "You Remind Me" (from the Strictly Business soundtrack) gave Blige some street buzz to lead into What’s The 411? The hip-hop swagger of "Real Love" — which samples "Top Billin'" by Audio Two, a beat highly familiar to New York City fans at the time — served as her formal introduction to the world and remains a calling card decades later.

The My Life Era (Extended Mix)

Contrary to the music industry’s sophomore slump stereotype, Blige’s second album is a seminal work. 1994's My Life became career-defining, and an album that she has subsequently reflected on to show her growth.

The album is a reflection of her volatile relationship with singer Cedric "K-Ci" Hailey, Blige explained in Mary J. Blige’s My Life, a documentary she executive produced for Amazon Studios in honor of the album’s 25th anniversary. Throughout, Blige keenly pairs heights of happiness with depths of her despair on songs like "You Bring Me Joy," "I’m Goin’ Down," "I Love You" and "Be Happy." 

"The whole 'My Life' album is, 'Please love me, don’t go, I need you,'" she said in the documentary. Combs, then known as Puffy, continued: "When she made that album, she was fighting for her heart." (Combs and Harrell served as executive producers of My Life.)

Blige and Combs never collaborated quite so closely again, though they remained friends. Combs didn’t produce 2011’s My Life II… The Journey Continues (Act 1), but he appears in a telephone skit to open the album, similarly to how he did on My Life. The sequel features guest stars such as Nas, Beyoncé and Drake.

Though her earlier works hinted at the potential, My Life most firmly established Blige as a beacon for hurt hearts everywhere. In a 2021 interview with Trevor Noah, Blige described how childhood physical and mental abuse, as well as her relationship with Hailey, led to substance abuse and depression. When she used the songs on My Life as a way of saying she needed help, "four million people responded and said, ‘'We need help, too.'"

Covers, Collaborations And Remixes

Cover songs have been an acclaimed — and long-lasting — part of Blige’s career ever since she sang "Sweet Thing" by Rufus featuring Chaka Khan on What’s The 411? Blige released her hugely popular version of Rose Royce’s "I’m Goin’ Down" in 1994, which reached No. 22 on the Billboard Hot 100, and she beat Beyoncé to the punch in 2000 with her take on Maze’s "Before I Let Go."

But her ascension to rock star status has a lot to do with her scene-stealing covers of songs of stadium-level acts. Blige has delivered epic versions of songs by Led Zeppelin ("Stairway To Heaven") and Sting ("Whenever I Say Your Name"), and when she collaborated with U2 on a new version of "One," there’s an audible battle with Bono as to whose song this is now.

Blige collaborates with rap, R&B, rock, country, electronic and classical artists with equal ease, and her discography includes work with late legends, including "Holdin’ On" with Aretha Franklin and a cover of Stevie Wonder’s "As" with George Michael. She won her first career GRAMMY in 1995 for Best Rap Performance By A Duo Or Group for "I'll Be There For You / You're All I Need To Get By," a collaboration with Method Man that covers Marvin Gaye and Tammi Terrell. 

A dance music collaboration with London duo Disclosure called "F for You" in 2013 helped to catalyze an entire album from the Capital of England called The London Sessions. The 2014 album features a second collaboration with Disclosure ("Right Now"), a cameo from UK garage DJ/producer MJ Cole ("Nobody But You") and guest vocals from Scottish singer Emeli Sandé ("Whole Damn Year").

Blige has long understood the potency of both hip-hop and dance music remixes, which remain a part of her single roll-outs. Over the years, she created a remix album of songs from What’s The 411?, and in 2002 released club-focused reworks of songs from No More Drama, Mary and Share My World on Dance For Me. 

Blige's remixes also pay homage. On her cover of First Choice’s "Let No Man Put Asunder," Blige honors singers who came before by featuring guest vocals from the group's lead singer, Rochelle Fleming.

Her Rap Alter Ego

Blige has rapped a few times on her albums, beginning with a verse in "Love," from 2001’s No More Drama. She won her first solo GRAMMY for Best Female R&B Vocal Performance in 2003 for "He Think I Don't Know" from No More Drama. By the time she rhymed on "Enough Cryin’" and "Take Me As I Am" (both from 2005’s The Breakthrough), her rap alter ego had a name: Brook Lynn.

Her cadence caught the ear of her friend Busta Rhymes, who recruited Blige for his "Touch It (Remix)" the next year. "The haters plot and they watch, lookin’ all pale/While I’m on a yacht overseas, doin’ my nails," she raps alongside Busta, Missy Elliott and Rah Digga.

Brook Lynn took a hiatus for a few years after that, but she came back blazing in 2011. "Homegirls love me and we be ridin' Phantoms/Mad chicks hate me 'cause I be writin' anthems," she rhymes on "Midnight Drive" from My Life II… The Journey Continues (Act 1). 

The Soundtracks

Since "You Remind Me," her first Top 40 entry, appeared on the soundtrack to Strictly Business, Blige has written stunning original songs such as "I Can See in Color" for Precious (2009). She has also licensed other hits to dozens of movies.

After years of contributing to soundtracks, Blige created her own as executive producer and performer of the soundtrack for Think Like a Man Too (2014), which includes a cover of Shalamar’s "A Night to Remember" and guest appearances by Pharrell Williams and The-Dream.

Blige has been cast in several acting roles since she guest starred in an episode of The Jamie Foxx Show in 1998 and has played fictional characters as well as real life figures Betty Shabazz (Betty and Coretta) and Dinah Washington (Respect). She received Academy Award nominations for Best Supporting Actress and Best Original Song for her work on 2017 film Mudbound.

More than 30 years into her recording career, Blige appears happy, energized and ready to add more hits and heartfelt anthems to her songbook.

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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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