Marshmello has become one of the most recognizable faces in the modern music scene — by not showing his actual face. The electronic-pop producer has racked up billions of streams while maintaining complete recluse, thanks to a, well, marshmallow-shaped helmet that dons an adorable cartoon smile.

But even if Marshmello wasn't one of music's most mysterious identities (or a playable skin in the wildly popular video game Fortnite), his mountain of smash hits has turned the masked music man into a household name.

Since he first burst onto the scene with the Skrillex-approved "Find Me" in 2015, Marshmello's career has been in a league of its own. His record label debut "Alone" mixed buoyant synth sounds with upbeat rhythms (and his own helium-pitched voice), setting the tone for his sonic universe where youthful sing-alongs meet glass-shattering bass.

After winning over the EDM world, he soon took over the pop crossover realm, digging into his rock roots on collaborations with Noah Cyrus, Blackbear and Demi Lovato, Khalid, Selena Gomez, Bastille, and the Jonas Brothers, just to name a few.

Of course, a spotlight can also become a target, and Marshmello has had his fair share of detractors. On his fourth studio album, Shockwave, the dance star locks his X-shaped eyes directly at those haters and demonstrates just how dynamic his style can be.

It's his most diverse album yet, with features spanning from rap (Megan Thee Stallion and Juicy J) to fellow producers (Troyboi, DJ Sliink, Nitti Gritti) to a spattering of bass music heavyweights (Eptic, Peekaboo, Subtronic). Shockwave explores every corner of electronic music from Jersey Club to trap, dubstep to Eurodance and even pop-punk.

In the end, that experimentation earned Marshmello his first GRAMMY nomination for Best Dance/Electronic Album at the 2022 GRAMMY Awards. The producer chatted with GRAMMY.com about why his nomination is so meaningful, how he advanced the Marshmello sound with Shockwave, and why he feels he "needed this album."

Where were you when you found out about the nomination?

Well, I'm not really that good of a sleeper. I'm a person who needs to exude a lot of energy, so when I'm not touring and I'm home a lot, it's hard to stay asleep. I always wake up from 8 to 10 a.m., and it was during that time.

I'm half asleep, don't even know what's real, and I hear my phone vibrate. I see something about GRAMMYs, and when you're half awake — maybe a fourth awake — you don't even really process. That second or third time I really woke up, I was like, "Wait, did that happen?"

I'm sure it takes a while to sink in, even when you are fully awake for the news. What does it mean to you to be nominated?

It's something every artist strives for, even growing up. I didn't really know what to make of it, but in a good way. I was processing that, but I was just also really excited to tell everybody that was on the album. We made the album during the pandemic, and we really put a lot of — I don't know how to describe it.

Joytime I, II and III are very specific and intentionally sound, just, catchy. This album, I didn't name it Joytime. I wanted to try something different.

We did music videos very specific to each video, a lot of them with my ideas. The experience as a whole was different, and this was the album that got nominated for a GRAMMY.

That was all going through my head at once: "Everything was just different. I wonder why, blah blah blah." Then my next move was to tell everybody that was on it.

That intention does come through. It also struck me that the second song "Supernovacane" opens with a clip of some guy calling you an "overrated electronic artist," then you go on to mix your sound with revered artists and styles. Was your approach a message to people who would put you in a box?

I was going to start the album with that, but then I was also wrestling with this track "Fairytale," which is actually the intro that sounds much more like an intro.

Every artist has people that hate on them, right? I don't know if I can speak for them, but that was me saying, "I'm aware that people think this, and I'm just having fun with it."

Specifically with this album, the whole thing was like, "I want to do a trap song," so then I started the album with "Fairytale." I want to advance my Marshmello sound and try to use all my production tips and tricks that I have acquired over the years and just try something different.

Let's say somebody with this kind of hateful intention goes on to listen to that album, right? They turn that song on, and how would they feel hearing me acknowledge and even put in a song that somebody was saying what they were? I just did it because I can.

That matches with the rest of the album. It's like, "Yeah, I made this Vengaboys-sounding track with Carnage because I can. I made this Jersey Club future bass jam with DJ Sliink because I can."

Who's going to tell me not to? Joytime I, Joytime II, Joytime III, I've been doing that style for a long time. I needed this album, just to make the music that I like playing out.

Every single song, I remember sitting in my studio and thinking about playing it — and then seeing the show I haven't played yet and how the crowd would react in my head.

You have huge collaborators from all over the map on this LP, and you've had some really legendary collabs across your career. What makes a good collaboration?

Honesty. You don't want to tell somebody that you don't like their idea, and they don't want to tell you either. It's always tough. I'm not saying that everybody hated everybody's ideas. It's just like, instead of beating around the bush and dragging on, just getting right to that point, down to what everybody likes and just running with it.

Everybody that I worked with on this album, I know they really know how to produce. So you can have this connection — they've been through it all, too. It was very streamlined because of the talent, so that was really nice.

You've got so many fun sounds on this album. What style was most fun to explore?

That song I did with Carnage, I wrote all the lyrics and the melody. That was fun to step out of my box. It's old school, almost like Eiffel 65. I remember listening to Eiffel 65 on a CD. When there was a good song back in the day, you couldn't just get the song, you had to get the whole album. I'd be listening to Eiffel 65, and "Blue" was on there, but all the other songs really influenced me. I still remember them after how many years. It was cool to tap back on that.

It was really great to work with Sliink on the Jersey Club [track "Back It Up"]. I based a lot of my whole sound on Jersey Club, like a little twist on it. DJ Sliink is a legend. He would be able to whip something up and know "this is the right direction," because he is who he is.

I'm excited to see how it influences you going forward, having the opportunity to explore these other sides of yourself.

That was something that was really sweet about this album. I'm racking through my brain here, and I don't think any song does the same exact genre as any other. The Eptic dubstep is different than Subtronics' dubstep.

That was one thing that I wrestled with, the sequence of the album. You want to make it flow, so I decided to put all the heavy songs back to back, and then just close out the album with the title track.

Speaking of "Shockwave," we hear you singing, and while that's not something entirely new, it feels very personal. Are you more comfortable with your voice after spending the first few years of Marshmello anonymously?

I always grew up in bands, but being in front of people singing wasn't called for in the beginning years of Marshmello. Ironically, I did sing on a lot of stuff, but I pitched the voice up. "Alone" was me, and "WaNt U 2."

"You and Me" was the very first one, kind of a pop-punk EDM vibe, which inspired the whole album of Joytime III. I had it pitched up, and my manager was like, "Why don't you just pitch it down?" I'm like, "Yeah, but that's my real voice," and he's like, "Screw it!" I pitched it down and I was like, "Wait, this sounds sick."

That led into Joytime III which had "Proud," which did really well on [Sirius]XM and what is — I think — the biggest off that album. It's with me singing, too.

Was there a right moment to say "This is who I am under the helmet?" Did revealing your identity change the way you approached the project creatively?

Not really, because I don't really want to bring a lot of light to that. Being anonymous is a big part of the project and what I like about it now. It's not really about following a person around and watching everything they do. It's just listening to music, seeing the helmet and things that I say, which is fine, but I don't think it's about specifically who I am.

Video games are a big part of who you are, from your sound to your early days with Monstercat. There was the Fortnite concert which literally changed the way people see in-game opportunities, and you're a payable skin. What does it mean to you for Marshmello to be a video game character?

It's awesome. I like that people can buy Marshmello helmets in real life. I play a lot of video games, and I know a lot of people play video games. They can be Marshmello and have that feeling almost even more in the video game.

That goes back to the idea that everybody can be Marshmello. Now people who really identify with that can do it in a video game, too, and it stands out, right? All white with that smile. It just gives everybody a chance to connect more with myself.

You've accomplished a lot in your career, but is there a moment you're most proud of?

A lot of big shows that I've done — all the planning, and then executing. Those really stand out to me as far as accomplishments.

Coachella [2017], that was my first time playing. Lollapalooza [2021] really stands out. That was like two weeks of planning. Not even planning — that was two weeks of being on the stage that I played on, and then executing it to exactly where I, and everybody who worked on it, wanted it. I think we're going to come out with a little mini documentary about that whole thing.

So is that what's next for you?

There's a lot of things next. I like elements of surprise, so even if I could tell you, I don't want to.

Everybody wants that feeling of being a rock star in their own way, and in my way, it's DJing — and being able to craft a show with a group of guys that I spend most of my life with. Everybody's connected, all doing the same thing, and has the same passions. It's great to get together, make an idea, practice it, and do it.

I have a lot of songs ready. I'm really excited, and I have my head down right now. Expect to see me a lot [this] year, everywhere.

Meet The First-Time GRAMMY Nominee: How Illenium Went From An "Obsessed" Dance Music Fan To An Arena-Filling DJ & Producer

November arrives with a cornucopia of new albums to fill your playlist and platters — from Latin American hip-hop, to DIY alt-pop, to classic rock 'n' roll.

Jung Kook, BTS’s youngest member, kicks off the month with his solo album debut, Golden while the posthumous Equal Strain on All Parts celebrates the life of Jimmy Buffett. Jason Aldean brings forth Highway Desperado for all country lovers, while British band the Struts maintain their stylish rock origins in Pretty Vicious. 

Later in November, Dolly Parton arrives with her first rock album, Chris Brown shares his mystical 11:11, and Chilean singer Ana Tijoux shares her first new album in nine years. 

Below, we compiled a handy guide to all the must-hear albums dropping November 2023 — from fresh names like Zoe Wees to resident hitmakers like Steve Aoki.

Espectro Caudillo - La Liturgia del Tigre Blanco

Release date: Nov. 2

Espectro Caudillo — the experimental electronic project of Reuben Torres — based their upcoming studio album, La Liturgia del Tigre Blanco, on Daniel Salinas Bavase’s book of the same name.

With Tigre Blanco, the Tijuana-raised producer and former member of Los Macuanos explores the life of the city’s former president and controversial figure, Jorge Hank Rhon, as well as the legacy of his father, politician Carlos Hank González.

The album also celebrates Tijuana’s vivid electronic scene. Hyperlocal genres such as Nortec (norteño techno) and ruidosón are heard  on singles "04’20″88" (which refers to the murder of journalist Hector "El Gato" Félix Miranda by two of Rhon’s guards) and "El Temible Grupo Jaguar."

Marshmello - Sugar Papi

Release date: Nov. 3

GRAMMY-nominated DJ and producer Marshmello is gearing up to release his first Latin album. After breaking into the mainstream with electronic hits such as "Wolves" with Selena Gomez and "Happier" with Bastille, the Philadelphia-born artist unveils Sugar Papi.

"I’ve had the pleasure of being able to perform all across the world and it’s hard to match the love and energy I’ve felt from the Latin community," he shared on Instagram. "Because of that I knew it was important for me to find a way to bring my audience into this world as much as I could."

Completed in less than two weeks, the album was crafted through a lot of "on the spot creation" in the studio, Marshmello told Billboard. Each of its 10 tracks features one Latin artist, including pre-release singles "El Merengue" with Manuel Turizo, "Tempo" featuring Young Miko, and "Como Yo :(" featuring Tiago PZK.

Zoe Wees - Therapy

Release date: Nov. 3

German newcomer Zoe Wees is ready to give fans a full treat with her debut studio album, Therapy. The much anticipated, 20-track effort has been "a long time in the making, and I have found writing it to be such a healing experience. I hope you feel the same comfort when you hear it," Wees shared on Instagram.

Since her 2020 hit "Control," the singer has proven an exceptional sensibility and a knack for supporting people — much like a therapist. Her soulful voice and resilient lyrics explore themes like self-discovery, self-esteem and healing. "When I’ve pushed through it all, I’ve found motivation that’s made me even stronger. Don’t ever doubt how powerful you can be," she shared in a statement about recent single "Lightning."

Therapy also features previously released tracks "Don’t Give Up," "Daddy’s Eyes," "Third Wheel," "Girls Like Us," and the aforementioned "Control."

Jimmy Buffett - Equal Strain on All Parts

Release date: Nov. 3

Despite battling skin cancer for years, Jimmy Buffett continued to sing and perform until died on Sept. 1 of this year. His diligence made it possible for Equal Strain on All Parts, the 32nd album in his impressive discography, to be completed and set to release next month.

According to Rolling Stone, the title refers to how Buffett’s grandfather would describe a good nap. With 14 tracks, the album features Paul McCartney, Angélique Kidjo, Emmylou Harris, the Preservation Hall Jazz Band, and two covers — "Mozambique" by Bob Dylan and "Like My Dog" by Billy Currigan.

Equal Strain is spearheaded by lead single "Bubbles Up," which McCartney described as "the best I’ve heard him sing ever." 

Jason Aldean -  Highway Desperado

Release date: Nov. 3

"I think when I look back on it, I built my career early on my live show, and have been on the road touring since I was 18 years old," said country star Jason Aldean in a recent statement about his forthcoming album, Highway Desperado.

These on-the-road experiences served as the main inspiration behind the record — his 11th studio LP. It’s the Nashville singer’s first effort since 2021 and 2022’s double album, Macon, Georgia, and features 14 tracks.

Ahead of the release, Aldean shared the lead single "Try That in a Small Town," as well as "Tough Crowd," "Let Your Boys Be Country," and "Whiskey Drink." 

Jung Kook - GOLDEN

Release date: Nov. 3

After a lengthy wait and a slew of singles and collaborations — including a performance of "Dreamers" at the opening ceremony of the 2022 FIFA World Cup in Qatar last year — BTS’ Jung Kook will finally release his first solo album, Golden.

The title comes from both the K-pop expression "golden maknae" (or "golden youngest" in Korean), for which he became known since his early days, and from Jung Kook’s own golden moments as a soloist, according to a press release.

Featuring 11 tracks, including the hit "3D" featuring Jack Harlow, Golden will come out on Nov. 3, alongside lead single "Standing Next to You."

The Struts - Pretty Vicious

Release date: Nov. 3

Following 2020’s Strange Days, British rock band the Struts will release their fourth studio LP, Pretty Vicious via Big Machine. It was produced by the quartet alongside Julian Raymond (Fleetwood Mac, Cheap Trick).

"This record showcases each individual member’s strengths," vocalist Luke Spiller shared in a statement. "It’s some of my favorite music, hands down, we’ve ever conjured up. It’s the record everyone’s been waiting for."

For a preview of what the 11 tracks in Pretty Vicious will sound like, the band shared the single and opening song "Too Good At Raising Hell." On Nov. 6, the Struts will begin their Remember the Name tour across the U.S.

Chris Stapleton - Highеr

Release date: Nov. 10

Following his 2020 GRAMMY-winning LP, Starting Over, Chris Stapleton will release his fifth studio album, Higher. Produced by Stapleton, longtime collaborator Dave Cobb, and his wife, Morgane, Higher will feature 14 tracks that cross beyond his country leanings and dare to explore further genres.

Such experimentations can be seen in lead single "White Horse," which mixes soaring rock riffs with Stapleton’s thundering vocals, and in the funky bassline of "Think I’m in Love with You," raising expectations for the Nashville star’s latest reinvention.

AJR - The Maybe Man

Release date: Nov. 10

When life hit sibling trio AJR with the death of their father this year, they turned to what they do best: music. From their grief first came their upcoming fifth studio album, The Maybe Man.

According to a press release, the titular character is "a big sad superhero who is always questioning who he is," and whose "emotion hangs over his head, so it doesn’t have to hang over yours." Over Instagram, the New York alt-pop band said "We put absolutely everything we had into this album, visuals, and tour. Down to every little detail. Get ready to immerse yourself in this world."

This is AJR’s first release since 2021’s Ok Orchestra, and features 12 tracks. The album is preceded by singles "Yes I’m a Mess," "The Dumb Song," "The DJ Is Crying for Help," and "I Won’t."

Mon Laferte - Autopoiética

Release date: Nov. 10

"Our cells create themselves. In other words, life creates life. Everything in the end is cyclical," Mon Laferte said in an interview for Tótem magazine (via Rock&Pop Chile). She was explaining the title of her forthcoming ninth studio album, Autopoiética. "So, I loved that idea and I took it to a poetic sense: we are all autopoietic beings, I am autopoietic, I have the ability to recreate myself all the time, to create this universe, my personal mythology."

Following 2021’s GRAMMY-nominated 1940 Carmen, Laferte explained to Rock&Pop Chile that this album is "much deeper in the lyrics, much more reflexive as well. The sound is more electronic, I used a lot of samples. The idea was to make a record with the machine in my house."

Autopoiética is preceded by several singles that carry Laferte’s known eclecticism, such as "Te juro que volveré," "Tenochtitlán," "40 y MM," and "NO+SAD." In a statement, she shared that "I loved this new creative work, I wanted to try new things from previous albums. I'm really excited, I feel that this is my best album yet."

Chris Brown - 11:11

Release date: Nov. 11

For his upcoming 11th album, Chris Brown doubled down on a lucky number. Titled 11:11, his latest album will come out on Nov. 11, and features sides A and B, each containing 11 songs that will be released at 11 a.m. and 11 p.m., respectively.

Superstitions aside, the record was also supposed to be more concise than his previous works. On Instagram, the singer shared "I see some of my die hard fans wanting me to add more songs for the new project and I love y’all for that. But, I just feel I need you all to really miss me and take my art seriously." However, with 22 songs, 11:11 sits close to 2022’s Breezy and its 23 tracks now. 

Brown has shared two tracks off the project: the chill lead single "Summer Too Hot" and the sultry "Sensational," featuring Nigerian singers Lojay and Davido.

Dolly Parton - Rockstar

Release date: Nov. 17

Last year, the legendary Dolly Parton was inducted to the Rock & Roll Hall of Fame. However, due to her country background, her first response was to politely decline. "I don’t feel that I have earned that right," she shared in a statement over social media. "This has, however, inspired me to put out a hopefully great rock n’ roll album at some point in the future, which I have always wanted to do!"

The world didn’t have to wait long, as Parton’s first foray into the genre, Rockstar, is due Nov. 17. The album features rock’s biggest stars — Paul McCartney and Ringo Starr, Steven Tyler, Joan Jett, and more — through a whopping 30 tracks that vary from well-known covers to exclusive compositions, offering a panoply of styles and infusing them with Parton’s unique charm.

 "I am very honored and privileged to have worked with some of the greatest iconic singers and musicians of all time, and to be able to sing all the iconic songs throughout the album was a joy beyond measure," the 10-time GRAMMY winner shared in a statement.

A couple of days before the release, Dolly Parton Rockstar: The Global First Listen Event will hit select movie theaters around the globe, offering fans a sneak peek of the album, behind-the-scenes footage, and exclusive performances. Parton has already released six singles off the project: "World on Fire," "Magic Man" featuring Ann Wilson, "Bygones" featuring Rob Halford, Nikki Sixx, and John5, "We Are the Champions"/"We Will Rock You," "Let It Be" featuring McCartney and Starr, and "What’s Up?" featuring Linda Perry.

Steve Aoki - HiROQUEST: Double Helix

Release date: Nov. 17

In 2022’s HiROQUEST: Genesis, DJ and producer Steve Aoki crafted an entire sonic world for the adventures of a puzzling character named HiRO. Next month, Aoki and HiRO return for a brand new journey on HiROQUEST: Double Helix.

"Part I was largely driven by my alt-music roots in hardcore punk bands," Aoki shared in a statement. "Now, the story continues on Double Helix, which embraces dance culture while intertwining the pulse of contemporary Latin music." He also added that the album "harmonizes nostalgia and contemporary sounds, placing collaboration at its core."

Double Helix features Galantis and Hayley Kiyoko, as well as singles "Invítame A Un Café" with Ángela Aguilar, "Diferente" with CNCO, "The Show" with JJ Lin, "Muñecas" with TINI and La Joaqui, "Lighter" featuring Paris Hilton, and a remake of Akon’s 2003 hit, "Locked Up," with duo TRINIX.

Plain White T's - Plain White T's

Release date: Nov. 17

Five years have passed since the Plain White T’s latest record, Parallel Universe, but they are finally ready for a new era to begin. On their upcoming self-titled album, the Illinois rockers are "trying to hark back to sounds we’ve used in the past with a freshness," frontman Tom Higgenson said in a press release.

"This one came from a really authentic place of understanding who we are and what we do," he added. "I’m more excited than I’ve been in a long time. As musicians, we’re always trying to outdo ourselves or go somewhere we haven’t gone before. Somehow, we figured out how to go to a fresh spot and still sound like Plain White T’s."

A preview of the band’s newfound freshness can be seen through six unveiled singles: "Would You Even," "Happy," "Spaghetti Tattoo," "Red Flags," "You Plus Me," and "Fired Up." The album features 13 tracks in total.

Ana Tijoux - VIDA

Release date: TBD

[Editor’s note: Since publication, Ana Tijoux has delayed this release until the new year.]

To announce her first album in nine years, VIDA, Ana Tijoux released the single "Niñx." The hip-hop and reggaeton fusion track is "born as a manifesto to the child we all have inside of us," Tijoux explained in a press release. "That living being that is capable of dreaming and building infinite castles of humanity and love."

More recently, she also unveiled second single "Tania," which pays homage to her late sister. Both songs were produced by longtime collaborator Andrés Celis, and foreshadow how the Chilean veteran has grown and why she continues to be one of Latin American hip hop’s most important voices.

Recently, Tijoux also published the memoir Sacar La Voz, and was invited by Alicia Keys to perform her hit "1977" during the latter’s Chile arena tour in May.

How To Watch The 2024 GRAMMY Nominations: St. Vincent, Jeff Tweedy, Muni Long, Kim Petras, Jon Bon Jovi, "Weird Al" Yankovic & More To Announce The Nominees; Streaming Live Friday, Nov. 10

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."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

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. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

At first glance, the worlds of rock and dance music might appear diametrically opposed. Dig a little deeper, though, and the two genres share more than just a love for all-black outfits.

In recent years, a wave of dance stars have embraced their inner mosher by collaborating with their favorite metal, post-hardcore, emo, and pop-punk artists, creating a mutant sound with a foot in both spaces. Just this month, Canada's dark bass maestro Rezz released a winkingly titled EP, It's Not A Phase, which channels the punk and metal she loved as a teen. (On release day, she posted an old photo in front of a My Chemical Romance poster, with the caption, "this one's for everyone who had an emo phase.") 

The EP followed Illenium's self-titled album in April — which features several of the Denver producer's rock heroes — while the likes of Marshmello, Kayzo and Excision have also tried their hands at rock/dance collaborations. For DJ-producers who grew up on raw guitars and tear-the-house-down vocals, it's a natural next step. 

Of course, this mixing of worlds is not just a recent phenomenon. For decades, dance artists have remixed, borrowed from, and occasionally collaborated with their rock counterparts. From the punkish ferocity of the Prodigy's 1997 album The Fat of the Land to Justice's Slipknot-sampling "Genesis" ten years later, the examples are endless. 

In the decade since the EDM boom minted a new generation of superstars, crossover collaborations have increasingly positioned the dance artist in the lead. In honor of this phenomenon, we're head-banging our way through eight of the best. 

deadmau5 feat. Gerard Way — "Professional Griefers" (2012)

Back in 2012, as EDM was taking over America, deadmau5 was busy touring an early iteration of his eye-popping 'Cube' show and preparing to release his sixth studio album, > album title goes here <. Ahead of the LP, the producer born Joel Zimmerman released "Professional Griefers," a hard-charging dance-rock stomper featuring My Chemical Romance vocalist Gerard Way.

While fans had already heard an instrumental version of the track in deadmau5's live shows, Way's vampy vocals brought the rock swagger, even as the production remained resolutely electronic. To celebrate the release, the collaborators appeared as gamers piloting a UFC battle between two giant mau5-headed robots in what Zimmerman told SPIN was "one of the highest-budget electronic music videos of all time." And yes, it's as extra as it sounds. 

Steve Aoki feat. Fall Out Boy — "Back To Earth" (2014)

Steve Aoki is one of dance music's most voracious collaborators, teaming up with everyone from will.i.am to Louis Tomlinson to Backstreet Boys. He's also a punk rocker from way back, having jumped between hardcore bands as a singer and guitarist in his pre-fame life.

These passions have intersected throughout Aoki's DJ/producer career in his collaborations with Linkin Park and blink-182, as well as Rifoki, the straight-up hardcore band he formed with Sir Bob Cornelius Rifo of the Bloody Beetroots. 

In 2014, Aoki joined forces with pop-punk favorites Fall Out Boy on "Back To Earth," which featured on his collab-stacked album, Neon Future I. In an interview with Billboard, Aoki explained that the band worked on their live instrumentation in a separate studio before he added the dance elements, and the result was "one of my favorite rock collaborations." 

The Bloody Beetroots feat. Jason Butler — "Crash" (2017)

Like his friend and collaborator Steve Aoki, the Bloody Beetroots' masked leader Sir Bob Cornelius Rifo is a punk at heart. That raucous spirit was present on the breakout Aoki/Beetroots team-up, "Warp 1.9" (2009), then turned up to 11 in their aforementioned hardcore band, Rifoki.

In 2017, after a few years away from the limelight, Sir Rifo delivered the third Bloody Beetroots album, The Great Electronic Swindle, featuring guests like Jane's Addiction frontman Perry Farrell, GRAMMY-nominated singer-songwriter Greta Svabo Bech, and Australian rock band Jet. 

On "Crash," the Italian producer hooked up with post-hardcore singer Jason Butler, of Letlive and Fever 333, to make a heavy, distorted and shouty head-banger that honors both of their styles. In true punk fashion, it's over and out in just over two minutes. 

Kayzo & Underoath — "Wasted Space" (2018)

Few DJ-producers relish the opportunity to slam together dance music and rock quite like Houston-born Kayzo. For his 2019 album, Unleashed, the rising star secured some of his favorite metal, hardcore and pop-punk acts as guests, including Of Mice & Men, Boys of Fall, Blessthefall, and Alex Gaskarth of All Time Low.

One of the album's standouts, "Wasted Space," pairs Kayzo with Underoath, the Florida metalcore outfit who previously collaborated with Rezz on her 2019 release, "Falling." The collaboration is equal parts metal — with dueling vocalists Aaron Gillespie and Spencer Chamberlain at full-tilt — and shuddering bass drops built for an EDM main stage. 

Marshmello feat. A Day To Remember — "Rescue Me" (2019)

Perma-helmeted producer Marshmello has enjoyed a whirlwind decade, with a famously prolific output that includes several dance and pop hits. In 2019, he surprised fans by announcing a team-up with Florida four-piece A Day To Remember, whose metalcore meets pop-punk sound is a far cry from Marshmello's usual vibe.

Their collaboration, "Rescue Me," finds an easy middle ground between crunching rock guitars, frontman Jeremy McKinnon's impassioned vocals, and Marshmello's skittering trap-pop beats. In an interview with Kerrang! Radio, McKinnon recalled his surprise at how quickly Marshmello shared the chorus on socials, adding that he wishes rock artists could be as spontaneous. 

Illenium and All Time Low — "Back To You" (2023)

Hot on the heels of his first GRAMMY nomination in 2022, Denver-based phenom Illenium got back in the studio to make another album straight from the heart. The producer's self-titled fifth LP took inspiration from his teenage years listening to the likes of blink-182 and Linkin Park, while staying true to his own bass-heavy aesthetic.

Thanks to his stadium-filling stature, Illenium assembled a starry lineup of guests, including pop-punk royalty Avril Lavigne and Travis Barker on "Eyes Wide Shut" and metalcore band Motionless in White on "Nothing Ever After." Early fan favorite "Back To You" features the full force of pop-punkers All Time Low going up against Illenium's furious drops — and achieving perfect harmony. 

Excision, Wooli, and The Devil Wears Prada — "Reasons" (2023)

Fellow bass lovers Excision and Wooli are frequently paired, whether they're going back-to-back as DJs or co-producing EPs like 2019's Evolution and 2023's Titans. This time around, the collaborators decided to try something outside their comfort zone, calling up Ohioan metalcore band The Devil Wears Prada to bring their distinctive grit to "Reasons."

In contrast to more pop-leaning entries on this list, "Reasons" is unapologetically heavy from the halfway mark, morphing back-and-forth from metalcore theatrics to hard-hitting wubs. In a statement, The Devil Wears Prada described this team-up as "uncharted territory" for the band, and their gamble paid off. 

Rezz, Tim Henson, and Silverstein — "Dreamstate" (2023)

In a statement accompanying her new EP, It's Not A Phase, Rezz notes that she "grew up listening to bands exclusively, and over time developed an understanding of what it was about those songs that I loved." 

That innate grasp of rock dynamics is on full display throughout Rezz's most vocal-driven release to date, with guest turns from the likes of Alice Glass, Johnny Goth, and Raven Gray. On "Dreamstate," Rezz embraces her inner emo kid with the help of Canadian post-hardcore band Silverstein and metal guitar prodigy Tim Henson, undergirding her guests' contributions with dark, stabbing bass.

"I listened to a bunch of Silverstein growing up, so it felt nostalgic to me," Rezz told Front Row Live Ent., before admitting that it was "the hardest song I've ever mixed." The extra sweat resulted in a one-of-a-kind collaboration, proving once again that dance music and rock are a potent mix — one with plenty of fuel left in the tank.

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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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