It's an exciting time for R&B. While the genre was said to be seeing less of a crossover into the pop landscape during the 2010s, Nielsen reports there is a rising interest in R&B. The genre, along with hip-hop, made 76 percent of the audio-on-demand streaming in the market in 2019. The 2020 GRAMMY nominees for Best R&B album are among the artists adding to the excitement growing in the genre. To whom would you award a GRAMMY if you could vote?

Would it be BJ the Chicago Kid's 1123? BJ told the Recording Academy the album would be a bit different from his past work. "I've always put my life experiences [in my albums], the new stories, just the new chapters of life I've always included into the music," he said. "I think it's always been the best thing for me, so you will see a big difference between 1123 and In My Mind."

Rising star Lucky Daye has come onto the scene strong with Painted, an album that is not afraid of vulnerability. "I'm sensitive, so my album got a whole lot of sensitivity to it," he told the Recording Academy in July. "As a man, that's hard to say. So I always tell people, I tell my homies, I'm like, 'bruh, if you're scared to cry in front of your girl, don't listen to my music in your car." 

PJ Morton's Paul is the "the most honest expression of myself and my art that I've ever made," the singer/songwriter from New Orleans said about the album. Does it deserve the coveted award in your eyes?

But we can't forget about Ella Mai's self-titled album. The much-awaited debut from the English singer included her hit "Boo'd Up," which saw the top of the charts in the U.S. and won Best R&B Song at the 2019 GRAMMY Awards. 

Or should Anderson .Paak's Ventura be the winner? The album's name pays ode to the county the singer/songwriter is from and features big collabs including Smokey Robinson, Lalah Hathaway, André 3000 and Brandy. 

So who would it be? Let us know by voting above!

2020 GRAMMY Awards: Complete Nominees List

The Latin GRAMMYs Album Of The Year category honors the work of both the established leaders and hottest rising stars in Latin music. The 2023 Latin GRAMMYs nominees for Album Of The Year include recordings by reggaeton and pop artists who are breaking down barriers in the music industry, alongside some of the most well-known and beloved singer/songwriters in Spanish.

These 10 albums were chosen to represent the most significant voices in Latin music for 2023: La Cu4rta Hoja (Pablo Alborán), A Ciegas (Paula Arenas), De Adentro Pa Afuera (Camilo), Décimo Cuarto (Andrés Cepeda), Vida Cotidiana (Juanes), Mañana Será Bonito (Karol G), De Todas Las Flores (Natalia Lafourcade), Play (Ricky Martín), Eadda9223 (Fito Páez), and Escalona Nunca Se Había Grabado Así (Carlos Vives). 

Ahead of the 2023 Latin GRAMMYs, officially known as the 24th Annual Latin GRAMMY Awards — which will be held on Thursday, Nov. 16, in Sevilla, Spain — learn about the nominees for this prestigious category. Don’t miss the broadcast on Univision at 8 p.m. ET/PT (7 p.m. CT).

Read More: 2023 Latin GRAMMYs: See The Complete Nominations List

La Cu4rta Hoja – Pablo Alborán

Pop singer/songwriter Pablo Alborán closed out 2022 with an explosion of optimism and carefree experimentation titled La Cu4rta Hoja. 

Throwing off the isolation of the pandemic, the Spanish chart-topper found himself ready to collaborate. The album features bold duets with música Mexicana star Carín León and Argentinian singer María Becerra, providing Alborán with the opportunity to branch out into genres, such as flamenco, that he’d never flirted with before. 

Evidently, he also felt like dancing as the normally ballad oriented artist stacked his album with breezy, playa-ready dance beats. Alborán has already been nominated for 24 Latin GRAMMYs, including a nomination for Best New Artist. He was nominated for Album Of The Year in 2013 for his sophomore album Tanto, making this his second Album Of The Year nomination. 

A Ciegas – Paula Arenas

Colombian singer/songwriter Paula Arenas’ career has been defined by an independent spirit since its beginning. The unconventional pop artist sang covers in nightclubs until she scored a hit single with "Lo Que El Tiempo Dejó" (featuring alt-pop legend Esteman) from her self-released debut EP, and except for a brief period with Sony Music Colombia, when she released her debut album Visceral, all her other releases have been with smaller labels. 

The indie darling’s roots are still showing on the clever, intimate A Ciegas, which finds her exploring a more stripped down version of her piano driven sound. Lead single "Puro Sentimiento," featuring fellow Colombian Manuel Medrano, shines with quirky-cool, ’80s inspired glamor. Being just a little different doesn’t seem to be holding her back: The video for "Puro Sentimiento" has more than 1 million streams on YouTube and counting. 

De Adentro Pa Afuera – Camilo

Iconic, stylish, unforgettable — and we’re not just talking about Camilo's mustache. The mononymous pop singer with the disarming soprano already has a few Latin GRAMMYs to his name, notably album of the year for 2021’s Mis Manos. He’s written hits for Becky G and Bad Bunny, but solo work is where Camilo really lets his creativity off the leash. 

The songs on his third studio album, De Adentro Pa Afuera, range from scruffy, loosely slung takes on reggaeton to bouncy folk pop jams that showcase his romantic side. It also hosts such diverse musical guests as Camila Cabello, Myke Towers and Grupo Firme. In the hands of a lesser artist it might be disjointed, but with Camilo at the controls it’s a masterclass in joyful chaos.

Décimo Cuarto – Andrés Cepeda

A master of the devastating love song made an exuberant return this year with help from a few equally formidable friends. Colombia’s Andrés Cepeda corralled the talents of such artists as Ximena Sariñana and Gusi for a delicately tropical, massively emotional album titled simply Décimo Cuarto. 

Gentle danzón and milonga rhythms ("Le Viene Bien") and lyrics about love that defies time, space and reality ("En Otra Vida") are just a couple of the elements that make up the album's restrained, yet robust mix. Décimo Cuarto also includes sweeping power ballads with Reik and Joss Favela ("Tu Despertador" and "Si Todo Se Acaba," respectively). Cepeda previously won a Latin GRAMMY in 2013 for Best Traditional Pop Vocal Album for Lo Mejor Que Hay En Mi Vida. 

Vida Cotidiana – Juanes

Loyal fans of Juanes’ rock side were rewarded for their patience when the Colombian superstar released Vida Cotidiana, an epic return to form complete with psychedelic flourishes and a healthy dose of funk and varied Caribbean influences. 

Early pandemic quarantine found the artist with a lot of time at home with his family, which provided some of the inspiration for the album. He used the unanticipated pause to study poetry, take voice and guitar lessons, and record the numerous demos that would, in time, become Vida Cotidiana. Juanes said he considers it his best album, and the time and passion he put into it is obvious. 

The legendary singer and songwriter has brought home 26 Latin GRAMMYs over the years and, with his 10th solo album he’s made a strong case for a 27th.

Mañana Será Bonito – Karol G

Musical powerhouse, reggaetonera and general bichota, Karol G is one major reason why all eyes are on Colombia. After establishing herself as a hit-making star in the adjoining worlds of reggaeton and Latin trap is clearly enjoying her success and savoring the moment.

As you might be able to guess from the sunshine and rainbows doodled on the album cover, Mañana Será Bonito was one of 2023' most fun albums, bubbling over with sass and unapologetic sexuality. Everyone is invited to the party: Mañana Será Bonito has features with Romeo Santos, Shakira, Carla Morrison and Sean Paul. It debuted at the top of the Billboard Hot 200 making it the first all-Spanish language album by a female artist with that distinction.

De Todas Las Flores – Natalia Lafourcade

De Todas Las Flores is the first collection of completely original material from Mexican singer/songwriter Natalia Lafourcade since 2015’s critically acclaimed Hasta La Raiz (for which she received two Latin GRAMMYs). 

Both Lafourcade and producer Adán Jodorowsky took a less-is-more approach on this new offering, which allowed for a subtle play of emotion on songs such as the aching title track. Famously a fan of Mexico’s rich musical heritage, De Todas Las Flores finds Lafourcade experimenting with stripped down cumbia and son, while also branching out into other regions of Latin America with bossa nova, samba and bolero. The understated arrangements perfectly complement the profound and profoundly personal tracks, which Lafourcade has described as "a musical diary." 

Play – Ricky Martín

After winning a Latin GRAMMY for his 2020 EP Pausa, Ricky Martín returned in 2022 with the logical bookend: a second EP titled Play. The Puerto Rican icon made the first recording in response to the cumulative challenges in his home island, ranging from Hurricane Maria to the pandemic. It also tackled heavy issues and served as a kind of therapy for Martín, who had started suffering from panic attacks. 

If Pausa was a held breath, Play is the satisfying exhale. More upbeat and even decidedly danceable in the case of the songs "Ácido Sabor" and "Paris in Love," it represents a return to life, if not a return to normal, and a focus on the romance and sensuality for which Martín has long been world famous.

Eadda9223 – Fito Páez

It takes someone unique to get both Elvis Costello and Nathy Peluso to guest on their album. Fito Páez has both on back-to-back songs on Eadda9223. 

The Argentinian rocker’s latest full-length is a revisiting of his epochal El Amor Después del Amor, this time letting a few more folks in on the caper. Besides the aforementioned co-conspirators, Páez is joined by Ca7riel and many other Argentinian iconoclasts who no doubt owe something to the trailblazing rock en español singer/songwriter. Each track on Eadda9223 is reimagined: The new version of "Sasha, Sissí Y El Círculo De Baba" with Mon Laferte crackles with Tex-Mex electricity that bears no connection to the original, but is a perfect vehicle for Laferte’s vocal range and flair for drama.

Escalona Nunca Se Había Grabado Así – Carlos Vives

What happens when a legend offers a tribute to a legend? Escalona Nunca Se Había Grabado Así, the Carlos Vives album celebrating the music of vallenato composer Rafael Escalona answers that question with moving clarity. 

Vives has brought the tropical sounds of Colombian vallenato to the world mixing them with pop and rock music, becoming a major star in the process. His deepest debt is to Escalona, who is remembered in Colombia as a storyteller and legendary personality. 

Escalona Nunca Se Había Grabado Así updates the Escalona’s famous compositions while striving to preserve their inherent spirit. The album is also a celebration of Vives’ own career, which now spans three decades. In addition to his innovation and longevity, Vives is an extremely prolific artist whose many releases have brought him two GRAMMYs and 15 Latin GRAMMYs.

Latin GRAMMYs 2023: Song Of The Year Nominees — Read Them Here

Like many artists, BJ The Chicago Kid often draws from personal experiences when he writes songs. One of his newest songs is also one of his most vulnerable: "Liquor Store in the Sky," which honors the memory of Al Howard, a childhood best friend he tragically lost in a car accident.

In this episode of Press Play, BJ The Chicago Kid delivers a stripped-down performance of "Liquor Store in the Sky." Accompanied by a guitar player, he improvises along to the instrumental with his velvety runs.

"Hair braided, but it's nappy like the Bible say/ Don't know what you call Him, but I call Him 'Yahweh'/ It blow my mind, it's kind of crazy 'cause he with Him now/ I ain't see the car crash, but I could hear the song," he sings in the opening verse.

"Liquor Store in the Sky'' — originally a collaboration with Freddie Gibbs — is a track from BJ The Chicago Kid's upcoming album, which he produced in collaboration with multiplatinum producer Yeti Beats via Reach the World Records.

"This song resonates with anyone who has lost someone special, particularly with those who yearn for a cherished drink with their favorite person," the neo-soul singer shared with GRAMMY.com.

Watch the video above to hear BJ The Chicago Kid's honest performance of "Liquor Story in the Sky," and check back to GRAMMY.com for more new episodes of Press Play.

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For 15 years, The Roots have gathered the music’s brightest and fastest-rising talents to perform in Philadelphia for their annual Roots Picnic, and this year’s lineup was nothing short of star-studded. 

After kicking off the weekend with Dave Chappelle’s comedy show at the Wells Fargo Center on Friday, the action moved to the Mann Center in Fairmont Park where fans witnessed surprise crew reunions, unexpected cameos, and a taste of the Las Vegas strip across three performance stages. 

On Saturday, legendary rap group State Property reunited for the first time in years, Lil Uzi Vert rocked out with the Park Stage crowd for his third picnic appearance. Supported by the Soulquarians, legends the Isley Brothers and Roy Ayers lit up the Park stage. Lauryn Hill closed out day two by commemorating her GRAMMY-winning album, The Miseducation of Lauryn Hill, and bringing out Pras and Wyclef Jean for a Fugees reunion. 

Sunday featured high-powered performances from soulful songstress Ari Lennox, former Ruff Ryders first lady Eve, and the devastating femmes of South Florida, the City Girls. Philly’s own DJ Drama drew out home-grown talents like D-Surdy, Armani White, and Bronx legend Fat Joe on the Presser stage. 

To close out the weekend, Usher brought the magic of his Vegas residency to West Philly for a string of era-defining hits in the twilight of the festival. Read on for some of the most captivating moments and exciting sets from the 2023 Roots Picnic. 

GloRilla Shines In Roots Picnic Debut

GloRilla | Kayla Oaddams/Getty Images

Unapologetic rebel GloRilla may have just one EP under her belt, but her growing fandom came alive during her Roots Picnic performance.

The Presser Stage crowd swooned along with femme-empowering smashes like "Phatnall," as well as more provocative songs like "Nut Quick" and "Lick or Sum." Legions of newly single fans  screamed the lyrics to crunk hit "F.N.F. (Let’s Go)." 

Big Glo kept the momentum going at high speed, loosening the relatively stiff crowd. And while Cardi B wasn’t present for her part in "Tomorrow 2," GloRilla brought out an energized and visibly pregnant Chrisean Rock for a twerk-worthy cameo. 

GloRilla truly embraced her rowdy nature and southern charm, which has helped her earn garner recognition from her peers and even notch her first GRAMMY nod for Best Rap Performance. 

Usher Brings Sultry And Sin To The City, With A Few Special Guests

Usher and Black Thought perform | Taylor Hill/Getty Images for Live Nation Urban

Before Usher had even closed out the festival, radio and podcast personality Charlamagne and comedian Jess Hilarious talked about wrapping up their own event early to snag a close seat to watch the R&B star in action.

Though decades into his musical career, Usher hasn't missed a step. Dressed in leather, the eight-time GRAMMY winner delivered his classic, slow-burning album cuts and glossy radio hits under the glimmering lights of the open air Park stage. 

Usher put on an electrifying performance that covered hits from various eras in his catalog. Songs like "Love in This Club," "U Don’t Have to Call," and "Lil Freak" had Sunday’s crowd staring in awe, even for those looking to get ahead of the departing traffic. He also brought The Roots on stage before Philly natives Jazmine Sullivan, Eve and Black Thought joined the singer to perform "U Got Me." 

Lauryn Hill (And Some Famous Friends) Took The Crowd Way Back 

Wyclef Jean, Lauryn Hill, and Pras Michel of the Fugees | Taylor Hill/Getty Images for Live Nation Urban

Lauryn Hill’s reputation precedes her. Some fans joked about her tardiness — or even potential absence — but the legendary vocalist arrived about 30 minutes past her scheduled set time and put on a performance that was met with shockwaves of cheers.

Hill's headlining performance coincides with a big milestone: the 25th anniversary of her groundbreaking album The Miseducation of Lauryn Hill. "Even though it's been 25 years, everything is still everything," she told the enlivened crowd. 

She performed tracks from the masterful GRAMMY-winning album, including "Everything Is Everything" and "When It Hurts So Bad," but perhaps the biggest surprise throughout the weekend was the reunion between her, Pras and Wyclef Jean. The trio came together as the Fugees to perform hits "Ready Or Not" and "Killing Me Softly" for a spirited celebration of the group’s 1996 album The Score. 

"We’re out here doing 25 years of Miseducation. But there’s another 25 years we didn’t do a couple of years ago because of COVID," Hill said of the group’s project. The group closed out with "Fu-Gee-La," with Hill switching from her soothing alto to her "L-Boogie" persona of old, bringing the joyous crowd to its knees. 

City Girls Bring The Twerkers Out To Play

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The City Girls brought headliner energy to Sunday’s picnic, with JT and Young Miami inciting a twerkathon with hot summer girl anthems like "Act Up" and "Do It On The Tip" playing out center stage. 

The Miami duo kept the energy high with on-stage twerk moves, pulsating hits like "Twerkulator," and efforts to draw out the crowd’s inner act-bad attitude by screaming: "If you’re a bad bitch, say, ‘Hell, yeah!’" And by the end of the group’s performance, fans were left with a racing heartbeat or sweating from the constant flow of high-powered hits and go-get-him-girl records. 

Lil Uzi Vert Knows What The City Wants

Lil Uzi Vert | Taylor Hill/Getty Images for Live Nation Urban

Now in their third appearance since 2016, Philly native Lil Uzi Vert took to the Park stage on Saturday, bringing enough bass and adoring screams that could be heard across Fairmont Park. 

 "I ain’t going to do too much talking. Let’s do it," they said to the roaring crowd. While Lil Uzi’s voice occasionally drowned in a song’s instrumental, their effortless magnetism and signature shoulder roll dance brought excitement to the growing crowd. 

The rumblings of hits like "444+222" and "Sauce It Up" rang in fans’ ears, and songs like "Money Longer," and the Diamond-selling smash "XO Tour Llif3" nearly turned portions of the crowd into mosh pits. Lil Uzi’s performance came to a welcomed halt when fans were invited to the stage to dance to the massively popular "Just Wanna Rock," which has become an unofficial anthem in their hometown. "I’m in the city, this they s—."  Fans pulled out their phones as the rap star capped off the set with the viral hit. 

Lucky Daye Drips In Allure

Only a year removed from his breakthrough album, Candydrip — a genre-drifting and soul-stirring project riddled with pop and R&B hits — Lucky Daye has risen to star status. And with songs like "Real Games" and "Late Night," it’s easy to be drawn to the New Orleans-born artist. 

While initially draped in glimmering red garments, it didn’t take the artist long to strip down (well, shirtless, that is), and render impassioned vocals over the cheers and screams of his admirers. He dove into songs across his various albums and fell to his knees to deliver a burningly passionate rendition of "F—kin’ Sound" before the 37-year-old vocalist exited the Mann’s amphitheater stage.

Ari Lennox Conjures Soul In Comforting Fashion

Ari Lennox | Taylor Hill/Getty Images for Live Nation Urban

It’s unclear if Ari Lennox still has plans to step away from the touring circuit for good, but if her Sunday evening performance is any indication,  her presence would be sorely missed. The "Shea Butter Baby" vocalist conjured every fragment of her soulful and poetic artistry, bringing vibes despite having a slight cold.   

The DC-born R&B singer danced to the flowy breeze setting over the stretched-out crowd while singing favored tracks like "New Apartment," as well as "Waste My Time" and "Pressure" from last year’s Age/Sex/Location. Lennox encouraged fans to close their eyes and sway their hips, and many raised drinks as Lennox’s soothing voice and sultry lyrics wrapped around their bodies.

Busta Rhymes And Eve Come To Devastate

Spliff Star and Busta Rhymes | Taylor Hill/Getty Images for Live Nation Urban

Joined by The Roots’ Black Thought, Busta Rhymes and Spliff Star tore down the Park stage, even with distracting audio woes hindering the early part of their set. Shot mic or not, Busta’s lion-like voice could be heard from yards away as he spewed the lyrics to "Put Your Hands Where My Eyes Could See" and A Tribe Called Quest’s "Scenario" to a cheering audience. 

Eve arrived during the latter part of the DJ J. Period curated set. The former First Lady of Ruff Ryder burst onto the stage and held her own alongside the fellow hip-hop heavyweights. As she swayed the crowd with songs like "Tambourine" and her verse on the late DMX’s "Ruff Ryders Anthem (Remix)," it harkened back to her days as a lyrical wild card in the early 2000s before she ventured into acting and hosting gigs. 

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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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