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Lido Pimienta Wins Canada's Polaris Music Prize

Lido Pimienta 

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Lido Pimienta Wins Canada's Polaris Music Prize

Colombian indie-pop artist wins honor for her album 'La Papessa'

GRAMMYs/Sep 19, 2017 - 06:55 pm

Colombian indie-pop artist Lido Pimienta has won the 2017 Polaris Music Prize for her sophomore album, La Papessa.

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Considered the top Canadian album of the year honor, the Polaris Music Prize is selected from a pool of 10 nominees and voted on by "journalists, broadcasters, bloggers and programmers from across Canada." The shortlist of 2017 nominees included Leonard Cohen's You Want It Darker, Feist's Pleasure, Tanya Tagaq's Retribution, and Weaves' Weaves

Some of the honorees, including Pimienta, performed at the prize's gala dinner at The Carlu in Toronto. Pimienta picked up $41,000 for the award, which was presented by the 2016 winner Kaytranada. 

"La Papessa means "high priestess," and it's a card in the tarot that with a lot of symbolism that spoke to me at a time that I needed it the most," Pimienta told The Fader about her album in 2016. "So once I became the high priestess in my own way, the album started taking shape. It's kind of a coming of age story. It's also a story of liberation and independence."

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

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

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

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

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

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Feist On Her New Album 'Multitudes,' Instinctual Writing & The Innate Integrity Of A Song
Feist

Photo: Sara Melvin & Colby Richardson

interview

Feist On Her New Album 'Multitudes,' Instinctual Writing & The Innate Integrity Of A Song

“I was taking real pleasure and care in finding new hand shapes, interior narrators, ways to spend the three to five minutes that this form called song usually fits into," Feist says about her hushed yet potent new album, 'Multitudes.'

GRAMMYs/May 1, 2023 - 08:56 pm

Feist's first album in six years, Multitudes, is full of negative spaces, but don't mistake that for vacancy. The implications are massive, but they're just that — implications. Something profound is brewing just out of frame.

"The last few years were such a period of confrontation for me, and it feels like it was at least to some degree for everyone," the mononymous singer said in a press release. "We confronted ourselves as much as our relationships confronted us… whatever was normally obscured — like a certain way of avoiding conflict or a certain way of talking around the subject — [was] all of a sudden thrust into the light."

Yet to look Multitudes in the face would be to do it a disservice. Take "I Took All of My Rings Off" — its central image of a wedding ring seems to suggest an unshackling from so many constructs and boxes. But when the song's meaning is broached, Feist demurs.

"I can't unpack that for you, because songs are very delicate mobiles that dangle to hold their own concept and interior logic," Feist tells GRAMMY.com. "While they spin in your ears, they come near, then swing away far and stay in a self-evident logic that can hopefully become familiar and your own — as long as someone doesn't try and break the spell by explaining them."

Perhaps hushed yet potent tunes like "I Took All of My Rings Off" — as well as "Love Who We Are Meant To," "Of Womankind" and other highlights — are best listened to rather than dissected or psychoanalyzed.

For Multitudes, Feist has some of the best and brightest in her corner, like multi-instrumentalists Blake Mills and Shahzad Ismaily. Best of all, she's matured immeasurably — if you're unfamiliar with her trajectory, and your image of the happy-go-lucky "1234" singer on "Sesame Street" remains, Multitudes is the timely update you need.

Read on for an interview with Feist about her thinking behind — and execution of — Multitudes, which spins off into themes of family, loss and creating with intentional limitations.

This interview has been edited for clarity.

I love the negative space on Multitudes. Even when very little is happening, a massive expanse is implied. Can you talk about how you achieved, or landed on this feeling?

It's easy to be tempted to evoke the idea that I knew exactly what I was going for, but so much of the process is a kind of pure-instinct decision making. So much of what works or doesn't, or belongs — or is clearly going to need to get muted — is clear as day in an instant, and self-defining.

Slowly, it evolves to become an atmosphere that knows its own laws. So, in that way, the process is guided as much by out-the-gate production plans, like microphone choices and where and with who to work, as are these ever-evolving, rolling decisions.

Tell me all about Multitudes’ "intensely communal experimental show of the same name."

Well, yeah there's a record called Multitudes now, but that project has been a few things along the way.

To build a show that lifted out of the assumed constructs of touring was something I'd wanted to do for a long time. Not to assume a bigger experience can only be found with bigger production, but to see what could be found by pulling down some of the baked-in walls that exist between the watcher and the do-er.

Like, how to really meet this unprecedented moment where a concert was a radical idea. It turned out to be a lot of people's first show back, and how many times will we get to feel a first again of something that used to be so familiar?

The feeling I was hoping to have shift under people was that after a global event like that, nothing that any one person has to say, or sing, is any more important than what anyone else would have to say. Except maybe someone who worked in an emergency room.

The above aspect, along with the caliber of out-there musicians who accompany you on the record, like Blake Mills and Shahzad Ismaily, suggests to me that you're advancing precipitously lately, from a conceptual standpoint. Can you talk about the juncture you're at in your evolution?

I'm not sure I have perspective on myself from the outside per se, but I've certainly admired Blake and Shahzad, as well as Mocky and Todd Dahlhoff and Amir Yaghmai and Gabe Noel — all of whom I've gotten musically obsessed with and in some cases played with over the years.

These songs were written in a lockdown level of solitude, I was taking real pleasure and care in finding new hand shapes, interior narrators, ways to spend the three to five minutes that this form called song usually fits into… but in making them bigger, I got a lot out of hearing where their hands took things. 

In almost all cases, it was about the player even more than what instrument they played; we weren't in a "Now we add the drums, now we add the bass" mindset. Like, I'd say "Let's get Gabe to do a pass on this one," and he'd walk in and pick up any amount of instruments and just free-associate.

You made this music after losing a parent and having a child. Can you talk about what you drew from these twin experiences?

Birth and death are two sides of the same coin. And though it seems radical to my Western-raised mind, one doesn't exist without the other.

I happened to stand at the juncture of those two in quick succession, like a lot of people do. The way they converged gave me a pretty undeniable sense of the continuum of time — the great unknown that precedes us getting to be alive and what happens after. 

I'd need to be an animator to illustrate the way it's all appeared to me since then. Our roles are interchangeable — the babies and parents and grandparents and ancestors and the stardust that begins the cycle again, the orbiting lives that touch each other like solar systems and time as the most abstract but binding force of all. 

It's breathtaking and yet so deeply normal, I just had no choice but to look really closely at it.

I love your harmonies on "Hiding Out in the Open"; they feel companionable. Tell me what that song means to you, and how you executed it — along with that radiant harmony stack. How did that one grow? 

I was playing a game with some friends called "Song A Day," where we dare each other to wrote a song a day for seven days. 

It's captained by a producer in NYC named Phil Weinrobe, and "companionable" would be the right word to describe this ultra-positive peer pressure, and the momentum that starts to build up after a few days. 

Sometimes, it's terrible, and sometimes, it's like an aperture opens on the top of my head and a song just arrives instant, mercifully, because their muse somehow knows I'm taxed and its day six and I don't have anything left — so instead of laboring over a phrase or a pattern, it just shows up.

That's how "Hiding Out" arrived. I use a little digital eight-track called the Spire that's very useful and very simple. It's essentially a toy and has many limitations, but what it can do is help me take an initial aperture arrival and expand upon it.

Your concept of "womankind" in "Of Womankind" is fascinating; in the press release, it's said to encompass "any adaptive and intelligent strength." How has your concept of womankind shifted amid shifting the cultural sands of sex and gender?

The umbrella of "mankind" had traditionally encapsulated everyone, a grandfathered in — there's another one — use of language that isn't often scrutinized.

Womankind is a provocative work because it's shaped in a similar presumption what would imply it encapsulates all of humanity within it, something that wouldn't be so easily adapted to, I believe.

Without knocking the mobile off its axis, I can say that this song showed up and felt to be a sort of collective conversation with myself at 23, 43 and 93. Cross-generational women discussing the background noise.

Finally, what is Multitudes a launching pad to? Where do you see yourself going now that you've rounded this corner and made this particular, highly personal statement?

I can't say. I suppose I'm looking forward to living, which leads to writing, which leads to recording — which usually surprises me with an album I couldn't have planned to make.

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10 Must-See Music Documentaries Arriving In 2023: Nicki Minaj, Johnny Cash, The Making Of 'Thriller' & More
(From left) Little Brother members Phonte, 9th Wonder and Big Pooh in 2005. Their documentary 'May The Lord Watch' comes out this year.

Photo: Ray Tamarra/Getty Images

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10 Must-See Music Documentaries Arriving In 2023: Nicki Minaj, Johnny Cash, The Making Of 'Thriller' & More

To kick off the new year, GRAMMY.com has rounded up music documentaries to be released in 2023 that follow the lives and careers of artists like Failure, Dionne Warwick, Leonard Cohen, Ol' Dirty Bastard, and more.

GRAMMYs/Jan 3, 2023 - 06:34 pm

Get your queue ready. From folk and outlaw country music, to classic rhythm and blues and hip-hop, there is a robust slate of music documentaries dropping in 2023 that will satisfy any music lover.

For alt-rock fans, the Failure documentary explores the evolution and impact of the influential rock band known for their experimental sound. If hard-hitting country is more your speed, Johnny Cash: The Redemption of an American Icon and "They Called Us Outlaws" offer a no-holds-barred look at the artists who drove the vibrant sound of the genre.

Hip-hop fans can enjoy a deep dive into Nicki Minaj's journey to rap superstardom in her six-part docuseries. Or, take a behind-the-scenes look at the hip-hop group Little Brother and the challenges they faced while striving to become world-famous emcees.

Below, check out this guide to 10 can't-miss music documentaries coming your way in 2023.

Hallelujah: Leonard Cohen, A Journey, A Song

Featuring appearances from Bob Dylan, Brandi Carlile, the late Jeff Buckley and more, this documentary examines the life and times of prolific singer-songwriter Leonard Cohen through the lens of his famous song, "Hallelujah."

Despite its current status as one of the most notable tracks in music history, "Hallelujah" — which was featured on Cohen’s 1984 album, Various Positions — was not an instant hit. It wouldn’t receive global recognition until nearly a decade later, with the release of Buckley's now-ubiquitous cover. While the world may have been slow to embrace the song, Cohen says Dylan immediately saw its greatness.

"It took a long time. I think the song came out in '83 or '84, and then the only person who seemed to recognize the song was Dylan," Cohen said in a 2009 interview with Q TV. "He was doing it in concert. Nobody else recognized the song until quite a long time later… almost 10 years later."

Directed by Daniel Geller and Dayna Goldfine, Hallelujah dives deep into the song’s themes, exploring how artists covering the track have interpreted its meaning. The doc also features exclusive concert footage, performances, and interviews with Cohen's former collaborators.

After a brief theatrical release, Hallelujah: Leonard Cohen, a Journey, a Song is available on DVD and various streaming platforms.

Failure

As Nirvana, Pearl Jam and Soundgarden helped grunge and alt-rock break into the mainstream in the ‘90s, a trio from Los Angeles was also making noise. Failure began to capture attention with the release of their beloved 1994 sophomore album, Magnified. (Nine Inch Nails’ Trent Reznor, Tool’s Maynard Keenan and Stone Temple Pilots' Dean DeLeo are among the group’s most notable fans).

Dropping in 2023, this official documentary offers an in-depth look at the band’s formation, evolution, label issues, impact and influence — with testimonials from Keenan, DeLeo, Paramore lead singer Hayley Williams, Keenan, Motley Crue’s Tommy Lee, Mastodon’s Troy Sanders, and actor/musician Jason Schwartzman.

In the doc, Sanders opens up about what the band meant to both him and his band: "The art that Failure has made is very authentic to me," he says. "In a world of rock ‘n’ roll, I wouldn’t be where I am right now if it weren’t for bands like Failure. I feel my band Mastodon has kind of followed the footsteps that they’ve laid before us." Adds Williams, "I never really heard anything like that. It changed how I thought about music. And it kind of made me — more than ever — want to be in a band."

Johnny Cash: The Redemption Of An American Icon

With appearances from Marty Stuart, Wynonna Judd, Alice Cooper, Tim McGraw, and Sheryl Crow, Johnny Cash: The Redemption of an American Icon focuses on the spiritual and emotional challenges that the country legend faced at the height of his career. This in-depth documentary also includes never-been-heard recordings of Cash as he discussed his darker moments, learning how to navigate fame, reckoning with past failures and recommitting to his Christian faith.

"He was darkness and light living in the same body. And one fought against the other," sister Joanne Cash Yates recounts in the trailer. But, adds Crow, "He faced himself. He faced his temptations. He faced his worldliness and came out wanting to be right with God."

If you missed the documentary’s limited December 2022 release, check it out in January 2023 when it drops on various streaming platforms.

Thriller 40

On the heels of the iconic album's 40th anniversary, GRAMMY-winning documentarian, music historian and author Nelson George announced that he’s hard at work on an official documentary about the making of the King of Pop’s legendary 1982 opus and groundbreaking short film.

"The release of 'Thriller' redefined Michael Jackson, taking him from teen star to adult superstar, who composed memorable songs, sang beautifully and reached the highest level of on-stage performance," George said in a statement. "The album, and the short films they inspired, created a new template for marrying music and image. It’s been a privilege to explore this extraordinary album and revisit its magic."

Featuring exclusive footage and candid interviews, the 2023 documentary will also focus on Jackson’s skyrocketing career at the time of the album’s release and its impact on the world and popular culture.  

"They Called Us Outlaws: Cosmic Cowboys, Honky Tonk Heroes And the Rise of Renegade Troubadours"

Written and directed by Eric Geadelman, "They Called Us Outlaws" is a six-part film that explores the early 1970s origins of the country subgenre and the artists who made it famous: Waylon Jennings, Willie Nelson, Kris Kristofferson and David Allan Coe.

At the time, Jennings and Nelson were upset with the Nashville music scene and its creative limitations. After cutting ties and leaving town to find a better way forward, the two musicians eventually reunited in Texas, where they built a rabid following by playing their own brand of country, on their own terms. That music would become known as "Outlaw Country"— a label that wasn't particularly embraced by many of the genre's artists. 

This 12-hour film series examines the unique circumstances that led to the birth of the sound, as well as the artists' relationship with the "outlaw" label and how it influenced the way they were received. The documentary also features appearances and performances from a stacked lineup of country greats, including Nelson and Kristofferson, Emmylou Harris, Church, Miranda Lambert, as well as singer-songwriters Tyler Childers and Charley Crockett and Guy Clark.

"Nicki: A Six-Part Documentary Series"

To celebrate the 10th anniversary of her debut studio album Pink Friday, GRAMMY-nominated rapper Nicki Minaj announced plans to release a biographical documentary in November 2020 — to the delight of Barbs everywhere. Yet there was no news about the film until July 2022, when Minaj surprised fans by posting a teaser from the project on her Instagram, along with an explanation for the delay:

"Coming out SOONER THANK YOU THINK. I took some time to perfect this very intimate, delicate, electrifying, inspiring body of work," Minaj wrote. "As I decide on a home for this 

project, I can’t help but reflect on what I’m including in this doc. Some things are so personal, it’s scary. It’s like NOTHING you’ve seen before & I need it to be handled with care. Love you so much. Thank you for the continued support."

Executive produced by Minaj, "Nicki" will focus on her personal and professional life, and the challenges of working in a male-dominated music genre. The docuseries was initially set to drop on HBO MAX, but Minaj and Bron, the film’s producers, decided to look elsewhere to find the right home for the docuseries.

May The Lord Watch: The Little Brother Story

In March 2022, fans of Little Brother were treated to a surprise when Phonte released the first trailer for an official documentary about the influential hip-hop group on his Instagram page. "Been working on this one for 5 years and calling it an 'emotional journey' is a big understatement," he wrote in the caption.

Slated for release in 2023, the documentary will include live performances, a behind-the-scenes look at the trio's production process, interviews with Phonte, Big Pooh and producer 9th Wonder, as well as appearances from Questlove, Drake, and Doja Cat, who discuss the group's influence and impact.

Dionne Warwick: Don't Make Me Over

From awards and hit records, to activism and philanthropy, this deep dive into GRAMMY-winning singer Dionne Warwick's life and work is a heartwarming celebration of the icon's astonishing six-decade-long career. The documentary follows Warwick's path to barrier-breaking greatness, touching on her gospel roots and her fateful audition to be a backup singer for Burt Bacharach in the early 1960s — the starting point of her rise to superstardom.

The doc also explores the singer's activism and advocacy for the Black and LGBTQ+ communities, philanthropic work—she's raised millions for AIDS research—and the impact her music had on listeners from all walks of life in the racially divided '60s. 

Dionne Warwick: Don't Make Me Over — which premiered on CNN on New Year’s Day — features appearances from Gladys Knight, Quincy Jones, Bacharach, Elton John, Berry Gordy, Snoop Dogg, Bill Clinton, Alicia Keys, Smokey Robinson, and others.

Biography: Ol’ Dirty Bastard

There have been several unofficial documentaries about the late rapper Ol' Dirty Bastard (born Russell Jones), but 2023 will see the release of "Biography: Ol’ Dirty Bastard," the first-ever film authorized by his estate. Set to be released on A&E Networks, the doc will feature interviews with the Wu-Tang Clan rapper's peers, family, and wife, Icelene Jones — who allowed filmmakers Sam and Jason Pollard to use never-been-seen footage for the two-hour documentary.

“I am thrilled to tell the full story of my husband. With this documentary, the world will learn about the son, the husband, the father, and the artist,” Jones wrote in a statement.

ODB's life was previously dramatized for RZA and Alex Tse's Hulu series, "Wu-Tang: An American Saga," which centers on the group's formative years. And on the film side, RZA has been developing a biopic about the late rapper's life since 2018.

Eno

When setting out to develop a documentary about a musician who has defied convention throughout his five-decade career, director Gary Hustwit knew the standard doc format was out of the question. To capture the distinctive, non-conforming essence of Brian Eno — an original member of Roxy Music and inventor of ambient music and the Microsoft Windows 95 startup sound — Hustwit is utilizing "groundbreaking generative technology" to allow viewers to choose their own ending and plans to release the documentary on multiple platforms. 

The film, which drops in 2023, will also explore areas close to Eno's heart, including creativity, sustainability, and social equality, and offer viewers a glimpse into his personal archive of unreleased music and concert footage.   

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
Franc Moody

Photo: Rachel Kupfer 

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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.

GRAMMYs/Nov 25, 2022 - 04:23 pm

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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