Photo: Rick Diamond for Getty Images
Kenny Chesney Reflects On His Favorite Tour Moments & Teases Why Upcoming Here And Now Tour Is "A New Way Of Being Ready To Rock"
On April 23, Kenny Chesney will launch his 19th tour — the Here And Now Tour — at Raymond James Stadium in Tampa, Fla. The veteran country star looks back on the touring legacy he's built and details what makes his shows so special.
"I can't believe how long it's been since I felt the energy of @noshoesnation in my veins," Kenny Chesney captioned a social media post on April 19. Like many touring musicians, the country star has been off the road since the end of May 2019. But for someone like Chesney, that is a remarkably long time.
Since 1998, Chesney has toured 18 times, never having more than two years in between treks — and he's only done that twice. His extensive touring schedule has become the primary element of his career, making Chesney one of country music's leading road warriors.
Chesney kicks off his 19th tour in Tampa on April 23. Titled the Here and Now Tour — named after his (fittingly) 19th album — the trek has the singer hitting 21 stadiums and 20 amphitheaters across the United States. The roster is as stacked as the schedule: Fellow country hitmakers Dan + Shay, Old Dominion and Carly Pearce will support at the stadium shows (only Pearce will open at the amphitheaters).
Upon the tour's announcement in November, Pearce and Dan + Shay's reactions to being invited out with Chesney showed just how major his tours are. Pearce called it a "bucket list dream,"while Dan + Shay said they've been attending Chesney's tours as fans for more than a decade. "Look for us in the crowd every night singing every word to every song," they wrote.
With a record 31 No. 1s on Billboard's Country Airplay chart, it's no surprise Chesney's tours are so appealing to his fans (dubbed No Shoes Nation, as he referenced in his post) and his openers. And after nearly three years away from the stage, songs like "Beer In Mexico" and "Summertime" may be more impactful than they've ever been.
Ahead of the first Here and Now Tour date, Chesney took a break from rehearsals to chat with GRAMMY.com via email. He dropped some hints about this year's tour and shared some of his most cherished memories — but perhaps most notably, Chesney made it very clear that he's not letting another three years pass him by.
You've said "I was shocked to see how much more these songs could be" because of the power of this year's band. As you've been rehearsing, which songs feel the most elevated? And what's making them more impactful?
If you've been to one of my shows, you know what the power of the band has always been. People are swept up and "in" it. I've been really blessed with my players.
But when you change a few key people, everyone comes to the bandstand with a different charge, a different chemistry. We are all really listening to the songs, hearing them with fresh ears and understanding maybe things we've not heard before.
And after three years, the joy of being on that stage? Playing together? It's the best feeling in the world! We never take it for granted, that energy when we hit the stage. But when you step away for this long, you really feel what's missing.
2019's Songs for the Saints Tour was exclusively in arenas. What makes stadium shows particularly special?
All the shows are special. When we did the Songs for the Saints Tour, it was about recognizing those fans who don't live in stadium markets, who have to travel. I grew up outside Knoxville; I was one of those kids, and I don't forget that stuff. To me, any stage I get to walk out on? It's the best possible show I could do anywhere — and that's what we try to do.
Stadiums, though, have this massive energy. They're built for football games, fans who get loud! That's what they're for, and if you do your set list right, to have all those people together, well, we can lift each other up in ways you can't anywhere else. There's nothing like it: the sound, the staging, the momentum.
When you're really rocking, you can do three miles up there. People don't realize that [a stadium] stage is 220 feet wide, and then you have the strut off the front of it. We cover a lot of ground, see a lot of smiling faces. That's a big part of it: the faces, the voices singing. It's massive to experience.
A tour press release said "With some classics coming off the set list, Chesney's worked up several songs to possibly rotate in." What are some of the classics that will never leave your set list and why?
Never say never. I think that's a dangerous precedent. And the list can change from night to night, especially with the way the lighting's being done this year.
But what's amazing to me is, even taking some songs out of the basic set list, how many hits remain. I think Billboard has me at 30 or 31 No. 1s, the most on their current chart, and I've had almost as many songs land at No. 2. It's an absolute impossibility that they're all going to be in there. Some songs — and I can think of one [that] people will be surprised we're not doing — can be rested for a tour or two.
This year marks 20 years of No Shoes, No Shirt, No Problems, which spawned the song of the same name that has now become one of your set staples. What does that song mean to you, in terms of both a career song and a live song?
Being free-spirited, carefree. Ocean life. Letting go of everything that stresses you. Sometimes you can't do anything about it, so let go.
As a career song, I think it's really the album. We'd been building towards or "collecting" the things that really mattered to me, that spoke to my way of living — and finally, there was an album that was absolutely me in that sense. We wanted hits — and "Young" really launched us hard, defined who I was making records for, "The Good Stuff" won the ACM Single of the Year — but it was also this larger picture.
What people didn't realize back then was how many young people were just like I was. I sang about our life, our escape, our dreams — and it deepened the connection. The fans knew I not only saw them; I was just like them. That authenticity, that bond matters.
When we sing it live, that's a moment where we all really see each other, let go. Every night, I tell No Shoes Nation, "Whatever problems you've got, tonight, just for this evening, leave them out there and come be with us." It's powerful.
Speaking of No Shoes Nation, "No Shoes, No Shirt, No Problem" inspired that name. You officially declared that name for your fans at Gillette Stadium 10 years ago this year. In the 10 years since, how have you seen No Shoes Nation come to life?
No Shoes Nation came to life long before it was named at Gillette Stadium, by my good friend and tour promoter Louis Messina. It came to life in the tailgates in the fields around Coral Sky Amphitheater in West Palm Beach; the Tiki Bars on flatbed trailers people would roll into the parking lots in Columbus, Ohio or around Soldier Field in Chicago or Texas Stadium in Dallas; the people driving tractors to the shows or making friends with the people hanging in the same places.
It was well-established before we ever thought to name it. But they are a country without borders that inspires me every day, especially during these years of so much uncertainty. Their passion for life and music is amazing. They are some of the best people in the world, they look after each other, and they really care. I can't wait to see all those faces this year.
What are some of your most memorable moments from touring — whether they were on or off stage?
That's like asking a parent "which child do you like best." I mean, how do you pick?
I remember a young woman getting on stage in a ball cap. I was going to give her the helmet I give someone every night, and she was shaking her head no, holding her hat on. Then I realized: she's got cancer; she's doing chemo. I got it, but I wanted to give her just as much heart back — and all I could think to do was pull off my hat, too.
So, there we were, with our hats off, no hair, smiling into each other's eyes. She was so beautiful, and so in the moment. I mean, you never forget that. I learned another lesson about the ways we support and live and inspire each other.
One year in Texas, we'd been watching the weather. Those fans are so alive, so at the moment, we didn't want to call the show. The weather report seemed okay. Then the biggest storm rolled in, just drenching us. It was terrible, and we made the decision to call it.
I walked out, wanting to keep people calm and even. I respect my audience, but it's a lot of people. Then I sang "Something Sexy About The Rain" from Be As You Are, my first island record. There's video of it. Talk about perfection in an absolute train wreck moment. But that's the thing about No Shoes Nation — they're so in the moment, too, they just sailed through it with us, went to their cars and got home safe.
Along with an amplified sound, what else is going to feel different about this year's stadium tour?
Just being out there again. We've been in rehearsals, and even more than how much I've missed the road and my road family, when we hear No Shoes Nation start to roar — the way our hearts pound is going to be a new way of being ready to rock.
Photo: Emma McIntyre/Getty Images for The Recording Academy
20 Artists Who Made History At The 2023 GRAMMYs Other Than Beyoncé: Taylor Swift, Kim Petras, Viola Davis & More
As Queen Bey takes her throne as the artist with the most GRAMMYs of all time, take a look at some of the other 2023 GRAMMY winners who joined her in celebrating momentous achievements.
In the win heard around the world, Beyoncé became the person with the most GRAMMYs of all time at the 2023 GRAMMYs. Her win for Best Dance/Electronic Music Album for RENAISSANCE put her at 32 golden gramophones — and in host Trevor Noah's eyes, that solidified her title as the GRAMMY GOAT.
But while Beyoncé's latest GRAMMY feat is unquestionably impressive, the "BREAK MY SOUL" singer wasn't the only artist who experienced a piece of GRAMMY history at the 65th GRAMMY Awards.
There were several special moments at the Premiere Ceremony, including the first-ever GRAMMY Awards for Songwriter Of The Year, Non-Classical (Tobias Jesso Jr.) and Best Score Soundtrack for Video Games and Other Interactive Media ("Assassin's Creed Valhalla: Dawn Of Ragnarok"). At the Telecast, Kim Petras scored a major win for the transgender community with her Best Pop Duo/Group Performance victory, and Dr. Dre was the inaugural recipient of his namesake Dr. Dre Global Impact Award.
Below, take a look at some of the history-making feats from the 2023 GRAMMYs.
As Kim Petras and Sam Smith accepted the GRAMMY for Best Pop Duo/Group Performance for their risqué collaboration, "Unholy," Smith let Petras do the talking because of a very special feat: She was the first trans woman to win in the category.
Earlier at the Premiere Ceremony, Germaine Franco became the first woman of color to win Best Score Soundtrack For Visual Media, which she won for composing the Disney animated film Encanto. (Notably, Encanto swept all three of the categories for which it was nominated, also winning Best Song Written For Visual Media for "We Don't Talk About Bruno" and Best Compilation Soundtrack For Visual Media.)
Carly Pearce and Ashley McBryde rang in a country first, as their win for Best Country Duo/Group Performance (for "Never Wanted to Be That Girl") marked the first female pairing to win the category — and the first GRAMMY win for both artists!
There were seven new awards given at the 2023 GRAMMYs, making those seven recipients the first to receive their respective honors. These were the first-time winners at the Premiere Ceremony: Tobias Jesso Jr. (Songwriter Of The Year, Non-Classical), "Assassin's Creed Valhalla: Dawn Of Ragnarok" (Best Score Soundtrack For Video Games And Other Interactive Media), Wet Leg (Best Alternative Music Performance for "Chaise Longue"), Bonnie Raitt (Best Americana Performance for "Made Up Mind") and J. Ivy (Best Spoken Word Poetry Album for The Poet Who Sat By The Door).
At the Telecast, Dr. Dre became the first recipient of the Dr. Dre Global Impact Award; shortly after, Iranian singer/songwriter Shervin Hajipour and his song "Baraye" received the first Special Merit Award for Best Song For Social Change.
There were a few other notable firsts at the Premiere Ceremony. Taylor Swift's Best Music Video win for "All Too Well: The Short Film" was the first time an artist won the category for a video directed by the artist themselves.
When jazz favorite Robert Glasper's Black Radio III won Best R&B Album, it marked his second win in the category — and an interesting one at that. His first win came in 2013 thanks to the original album in the trilogy, Black Radio, meaning his 2023 win was the first time an album and its sequel album have won in the category.
Elsewhere, two student groups celebrated some historic GRAMMY firsts: The Tennessee State University Marching Band became the first collegiate band to win a GRAMMY after receiving the golden gramophone for Best Roots Gospel Album, and the New York Youth Symphony became the first youth orchestra to win Best Orchestral Performance.
Viola Davis added a GRAMMY to her ever-impressive empire, which meant she is now officially an EGOT (Emmy, GRAMMY, Oscar, Tony) winner. Her GRAMMY win for Best Audio Book, Narration, and Storytelling Recording helped her become the third Black woman to earn an EGOT, and the first to secure the status at the GRAMMY Awards, following Whoopi Goldberg and Jennifer Hudson.
Last but certainly not least, "Into The Woods" joined elite ranks by winning the GRAMMY for Best Musical Theater Album. Stephen Sondheim's 1987 original won the category in 1989, making it only the fourth Broadway show to earn two Best Musical Theater Album GRAMMYs alongside "Gypsy," "Les Miserables" and "West Side Story." It's also the second year in a row a piece of GRAMMY history was born from the category, as "The Unofficial Bridgerton Musical" creators Abigail Barlow and Emily Bear became the youngest winners in 2022.
Photo: Allister Ann
Meet The First-Time GRAMMY Nominee: How Carly Pearce's Darkest Personal Moments Helped Her Reach Milestones
Blending her personal story of heartbreak with her passion for traditional country storytelling, Pearce’s "Never Wanted to Be That Girl" earned her new career highs — including her very first GRAMMY nod.
Carly Pearce and Ashley McBryde may reflect different corners of the country music spectrum, but they share a reverence for tradition and a penchant for heartbreak songs. The singers explore their stylistic common ground in “Never Wanted to Be That Girl,” a duet that tells the story of two women who have been cheated by the same man.
The country ballad resonated deeply with audiences, both because of its traditional leanings and its gripping personal narrative. At a spring 2022 show in Albany, N.Y., Pearce even saw two fans holding a sign saying that the song told their story of being romantically entangled with the same unfaithful man. The experience brought them together, and they wound up becoming friends.
"Never Wanted to Be That Girl" reached the top of the country radio chart — one of only three female-female duets to do so since 1993. One of those, Reba McEntire and Linda Davis’ “Does He Love You,” specifically influenced Pearce and McBryde. In addition to its chart success, "Never Wanted to Be That Girl" won Musical Event of the Year at the 2022 CMA Awards, and earned Pearce her first GRAMMY nomination, for Best Country Duo/Group Performance.
Pearce’s personal missive is at the center of a breakthrough personal and musical era ushered in by two enormous heartbreaks: Her highly public divorce from fellow artist Michael Ray and the untimely death of her producer, Busbee. Rather than retreat from the spotlight, Pearce used her grief and trauma to create 29: Written in Stone, a grippingly personal artistic statement. The singer’s authenticity paid dividends: She started seeing more commercial success, more critical recognition and extra passion from her fans.
Ahead of the 2023 GRAMMY Awards, Pearce caught up with GRAMMY.com to discuss her first nomination, her powerful musical friendship with McBryde, and why she considers 29 to be the album that changed everything.
After you learned you were nominated, what was the first thing you said to Ashley McBryde?
You know, this isn’t her first GRAMMY nomination, but it is her first No. 1 song, and so we’ve kind of had this thing where we’ve given each other firsts. It wasn’t my first No. 1 song, but it was my first GRAMMY nomination. So we were just texting, and I said thank you.
I wanted so badly to collaborate with her — and I knew that it was an unlikely pairing — but I knew that if we really tried to write a song together we could do something really special. And we did.
Take me back to the day you wrote the song.
I feel like this song in particular wasn’t written like any other song I’ve been a part of. We were in the room and we had zero ideas of what we were gonna write. No riffs, no hooks, no musical hints at all. We just started talking. She was privy to what was happening in my life, and obviously [co-writer and 29 producer] Shane [McAnally] was too, so when we wrote that song, we started a story. We had no idea where it was gonna land.
We wrote this song in top to bottom chronological order. But we wanted to make sure that the choruses were the same, even though the women were experiencing different perspectives. I think we very carefully wanted to not pit the women against each other, but to show that you can both be burned by the same man.
You and Ashley have known each other since early on in your time in Nashville, just from being at the same songwriter’s nights and shows. How has your relationship evolved?
I’ve always loved her. We did kind of come up together in a lot of ways. We would play shows together and sing each other’s songs, and I just felt like she understood my voice and I understood hers. I was making this album and brainstorming with one of the members of my team, and he said, "Wouldn’t it be so awesome if you had a collaboration with Ashley? She’s so different from you, but we miss those female-female duets. There haven’t really been any since the ‘90s." So I just texted her and asked, "I don’t know if this would ever interest you, but would you write a song with me for my record?" And she was in, immediately. It just felt like it was always destined to happen.
Speaking of female-female ‘90s duets, one of your fellow nominees in this category is Reba McEntire’s new version of "Does He Love You" with Dolly Parton. I know the original version of this song with Linda Davis, in 1993 helped inspire "Never Wanted to Be That Girl."
We definitely referenced "Does He Love You" that day in the write. We knew we couldn’t touch that, but we were striving to make something as impactful. So it feels very full circle to have watched this song climb the charts, and watch it win all these different awards, and now be nominated in a category with the same woman that inspired us to even sing that song.
Have you talked to Reba about your song’s connection to "Does He Love You"?
I haven’t seen her, but I’m hoping to get to do that. Maybe at the GRAMMYs! Not that she needs any other women to tell her she’s a trailblazer, but certainly, she inspired us to double down.
When you think back to the beginnings of 29, when you were preparing to release all these personal songs. What were some of your biggest questions or fears, and how have they been resolved?
I remember turning in the first half of my album and wondering if my record label would even put it out, because it felt so personal — almost to a fault. And I remember thinking the production on it was so country that I wondered if it was going to be commercially accepted. I actually have a distinct memory of playing my song "29" for a group of friends and none of them were divorced, but they were crying, because they were inserting their own story into it.
I think this is the album that I will look back on in my life and say it was the one that changed everything for me in my career. It gave me such direction. It gave me hope that I’m not alone. That’s been the most amazing thing; when I look at it now, I go, Gosh, this album brought so many people to a place of feeling not alone, and in return, through their stories and their showing up for me when I needed it, they made me feel not alone. That’s all you ever want, when you’re an artist, to have that kind of connection.
Do you feel like people, even outside of country fans, are connecting with your story and responding to your music?
I’ve had a few albums out — this is my third — but I feel like in a lot of ways it was my first. I think we all go through the same struggles in life, and I think that people really resonated with me on a human level with this record. Everybody’s experienced heartache. And sometimes people need to feel hope, and that they’re not alone. So yes, I feel that very much.
You’re in the middle of making a new album now. What can you share about that process?
As a writer, I wish I could go through a divorce every time I make a new album, because it makes you feel so inspired. But I think what I learned through making that record is, people wanna hear how I see the world. They wanna hear what I’m going through. From [age] 29 to 32, almost 33, there’s been a lot of life that I’ve intentionally kept more private. [Now], people say to me, "Oh my gosh, you’re so happy, but we’re not gonna get those Carly Pearce heartbreak songs."
Honestly, yes, you can be happy and struggle to get there. I think there are songs that are reflective, there are songs that are nostalgic, there are songs that are in love and happy. But you don’t realize how much you’ve been affected until you try to love somebody else. I don’t think that’s a topic that’s really talked about, but it’s something that I think a lot of people go through, and I kind of share my take on that.
You’ve teased a little bit of a song called "Trust Issues." How does that song fit into your new music?
I felt very overwhelmed when I first started writing — just, you know, what this direction was. And I wrote in my phone, "trust issues." That’s kind of on the theme of, you never know how hurt you are until you try to love somebody else. But I wanted to spin it into a hopeful and happy thing, because I love titles where you look at them and you think it’s gonna be one thing, but it’s a totally different thing.
So I got in the room with two of my favorite people, [songwriters] Nicolle Galyon and Jordan Reynolds, and we crafted this song that felt so hopeful. It’s a love song, but it’s a love song out of pain. And I remember when we wrote it — I see my albums in pictures, and I thought this was such an important facet to this transitional period of my life —of moving on.
Press Play On GRAMMY U Mixtape: New Year, It’s Poppin'! Monthly Member Playlist
The GRAMMY U Mixtape is a monthly, genre-spanning playlist to quench your thirst for new tunes, all from student members. GRAMMY U celebrates new beginnings with fresh pop tunes that will kickstart 2023.
Did you know that among all of the students in GRAMMY U, songwriting and performance is one of the most sought after fields of study? We want to create a space to hear what these students are creating today!
The GRAMMY U Mixtape, now available for your listening pleasure, highlights the creations and fresh ideas that students are bringing to this industry directly on the Recording Academy's Spotify and Apple Music pages. Our goal is to celebrate GRAMMY U members, as well as the time and effort they put into making original music — from the songwriting process to the final production of the track.
Each month, we accept submissions and feature 20 to 25 songs that match that month’s theme. This month we're ringing in 2023 with our New Year, It's Poppin'! playlist, which features fresh pop songs that bring new year, new you vibes. Showcasing talented members from our various chapters, we felt these songs represented the positivity and hopefulness that GRAMMY U members embody as they tackle this upcoming year of exciting possibilities.
So, what’s stopping you? Press play on GRAMMY U’s Mixtape and listen now on Spotify below and Apple Music.
Want to be featured on the next playlist? Submit your songs today! We are currently accepting submissions for songs of all genres for consideration for our February playlist. Whether you write pop, rock, hip hop, jazz, or classical, we want to hear from you. Music must be written and/or produced by the student member (an original song) and you must be able to submit a Spotify and/or Apple Music link to the song. Students must be a GRAMMY U member to submit.
About GRAMMY U:
GRAMMY U is a program that connects college students with the industry's brightest and most talented minds and provides those aspiring professionals with the tools and opportunities necessary to start a career in music.
Throughout each semester, events and special programs touch on all facets of the industry, including the business, technology, and the creative process.
As part of the Recording Academy's mission to ensure the recorded arts remain a thriving part of our shared cultural heritage, GRAMMY U establishes the necessary foundation for music’s next generation to flourish.
Not a member, but want to submit to our playlist? Apply for GRAMMY U Membership here.
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.