meta-scriptPrimavera Sound 2021 Full Lineup: Kim Gordon, Khruangbin, Kurt Vile, Slowthai & More Join Massive Booking |


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Primavera Sound 2021 Full Lineup: Kim Gordon, Khruangbin, Kurt Vile, Slowthai & More Join Massive Booking

The 20th edition of the major Spanish music festival is set to return to Barcelona's Parc del Fòrum on June 2-6, 2021 after the 2020 edition was canceled due to the COVID-19 crisis

GRAMMYs/Jun 10, 2020 - 12:05 am

Today, June 9, Primavera Sound announced the full lineup for their 20th edition flagship Barcelona music festival, adding 45 more artists in its third and final round of artist announcements. The open-air Spanish fest is set to return to its home at Parc del Fòrum on June 2-6, 2021, after the 2020 edition was canceled due to the COVID-19 crisis.

Sonic Youth co-founder Kim Gordon and lo-fi rocker Kurt Vile, who were slated for the 2020 event, officially join the 2021 lineup today, along with British punk rapper slowthai and Texan psych rock trio Khruangbin. These acts join the likes of Bad Bunny, The Strokes, Massive Attack, Tyler, The Creator, Honey Dijon, Bikini Kill and Pavement—all of whom were previously confirmed for the 2021 event and originally booked for 2020.

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Techno heavy-hitter Ben UFO, Argentinian rockers Él Mató a un Policía Motorizado, Catalan singer Marina Herlop and minimal techno hero Terrence Dixon also join the lineup today. In addition to unveiling the complete billing, Primavera shared the breakdown by day, so fans can take advantage of the day passes that go on sale this Thurs., June 11.

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Additionally, to close out the event on Sunday, the inaugural Brunch On The Beach party will include all originally slated DJs. BLOND:ISH, Chaos in the CBD, Black Coffee, Amelie Lens, Disclosure, Nina Kraviz, and more will all bring the day rave to the Sant Adrià Besòs beach.

Previously added 2021 artists who were not a part of the original 2020 booking include Charli XCXTame Impala, the GorillazFKA twigsJamie xxJorja Smith, Doja Cat and others. For the full list, see the tweet above and visit the fest's website.

Weekend tickets are currently on sale at a discounted price of 165 Euros until tomorrow, Wends. June 10, after which the price increases to 195 Euros. Day tickets, including for Brunch On The Beach, go on sale on Thurs. June 11 at 11:00 a.m. CET. Find complete ticket info here.

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Khruangbin poses against a softly backlit pastel background featuring a sunset

Photo: David Black


5 Songs To Get Into Khruangbin Ahead Of Their New Album 'A La Sala'

Khruangbin's latest record, 'A La Sala,' is a return to the psych-rock trio's jammy, spaced-out beginnings. Ahead of the album's April 5 release, dip your toe into their discography with these five great tracks.

GRAMMYs/Apr 2, 2024 - 01:34 pm

Houston-based psych rock trio Khruangbin — which means airplane in Thai — are beloved for their globally flavored, luxuriously spacious brand of psych rock. Much of Khruangbin's music is instrumental, laden with funky-yet-chill bass licks, reverb-drenched guitar, calm yet precise drumming and plenty of room to breathe; you could certainly take flight with a spin of any of their four albums.

Guitarist Mark Speer, bassist Laura Lee Ochoa and drummer Donald "DJ" Johnson Jr. found inspiration in cassettes of '60s and '70s era Thai funk bands who fused surf rock with their native folk songs. They'd listen to these tapes while driving out to the countryside barn where they recorded the first album, 2015's The Universe Smiles Upon You. Leisurely unhurriedness, space to roam and underappreciated global sounds with a Texas lilt — this is Khruangbin

As they've grown, Khruangbin has added more global influences to the mix, yet maintained a clearly identifiable sound — one that invites you in and reminds you to breathe deeper. Sophomore release Con Todo El Mundo brought in deeper funk and soul influences from the Mediterranean and Middle East, including the work of Iranian pop superstar Googoosh.

"To [simply] call us Thai funk is a great disservice to the people who made that music in the first place. We’re going to put whatever influence we like into the music. Otherwise, it’s boring," Speer told Bandcamp in 2018. "Funky drums, dub bass, melodic guitar, those are the only rules.”

Songs from Con Todo El Mundo were heard on popular TV shows including "Barry" and "The Blacklist," exposing Khruangbin to a whole new fanbase. Even Jay-Z and Barack Obama joined the fan club. "Texas Sun" with Leon Bridges, their biggest song to date, earned a coveted spot on the former President Barack Obama's 2020 Summer Playlist.

Khruangbin have been touring nearly nonstop since their debut album, and will perform at Coachella on both Sundays. Their live shows are a colorful sonic quilt, and so beloved that the band sold out three nights in a row at the Bowery Ballroom in New York City.

Their upcoming fourth album, A La Sala, due out April 5 on Dead Oceans, is a return to the band's beginnings: spacious, jammy tunes without any outside collaborators. Lead single "Love International" highlights Khruangbin's talent for expertly crafted, soothing instrumentals that invite listeners into a dreamlike space.

Much like the rare global tunes they found inspiration in, Khruangbin is just waiting to be discovered. And once you do, you're hooked and ready to swim in their calming waters. Ahead of A La Sala, take a listen to five essentials from Khruangbin's extensive catalog to get a taste of their unique, inviting sound.

"White Gloves" (2015)

"White Gloves" is one of the trio's first songs with lyrics. The Universe Smiles Upon You track atop which Lee sings of a deceptively simple-yet-sad story of a queen who wore white gloves and died in a fight.

Speer's dreamy, echoing guitar and Johnson's slow-and-steady drumbeat paired with Lee's delicately funky bass, oohs and ethereal vocals make this track feel heavenly and light. Close your eyes and listen to the song's mournful tones, and imagine that perhaps the band is singing in heaven as the queen wanders the clouds with her clean white gloves.

"Maria También" (2017)

The lead single on Con Todo El Mundo, "Maria También" goes full vintage surf rock with a rollicking bassline that vaguely recalls the Surfaris 1963 hit "Wipe Out." They add flourishes of handclaps, bells and sneaky yeahs. It's perhaps one of the band's most driving, urgent tunes — definitely the most so on this album, which was dedicated to Lee's Mexican-American grandfather. 

One of the band's goals on the album was to channel the energy and sound of the outdoor music festivals they'd been playing. "The kick drum is more present in the mix, it drives people to dance,” Johnson told Bandcamp. On "Maria También," the banging kick and jubilant festival energy are fully present.

And in the music video for "Maria También," the trio nods to the Iranian pop influences on the song and album by featuring the many women artists who thrived in Iran prior to the revolution in 1979 but were pushed out by it.

"Time (You and I)" (2020)

This joyful lead single from 2020's Mordechai offers a taste of Khruangbin's more upbeat and vocal side. On it, Lee poetically muses: "That's life / If we had more time / We could live forever," a fitting anthem for the newly locked-down world it came out in. 

Towards the end of the nearly six-minute track, they repeat "That's life" in a variety of languages, a very Khruangbin statement in itself. There's a little bit of jingly cowbell on "Maria También," and here we're gifted with more cowbell flourishes, touches of synth and a healthy dose of funk.

"Doris" with Leon Bridges (2022)

"Doris" is a tender, heartfelt tune dedicated to Leon Bridges' grandmother, from Khruangbin's second collaborative EP, Texas Moon. It's also a great example of the way the band uses space as a powerful tool within their music. 

Here, minimalist instrumentation and a slow, mellow beat allows Bridges' rich voice to shine. In conversation with in 2020, Johnson and Bridges compare "Doris" and "Father Father" — another touching and spacious Texas Moon track — to the chopped and screwed sounds of '90s Houston hip-hop.

"It is so slow. And it leaves so much space. The listener is waiting for the next thing to happen within the song," Johnson said of "Doris." "I think that's something that you can really take advantage of, being from Texas and from the South and understanding chopped and screwed culture and that it's okay for things to be slow. It's okay to wait for stuff. I think it goes with the whole Southern way of life, how people slow cook food down here. When my people barbecue, they start the day before. And I take all of that mindset into the music."

"Lobbo" with Vieux Farka Touré (2022)

On 2022 collaborative album Ali, the Texas trio worked with Malian singer, songwriter and guitarist Vieux Farka Touré for a moving tribute to his late father and legendary GRAMMY-winning West African guitarist, Ali Farka Touré, reimagining his music. Khruangbin's playing fits so perfectly with Vieux's haunting voice, languid guitar and the "desert blues" Ali Farka Touré created, it's almost surprising they didn't write these songs together. On the second track, "Lobbo," we get spacious, bluesy guitars and Lee echoing and amplifying Touré's voice for a beautiful, almost mournful tune.

Ali was Khruangbin's most recent studio album, which was followed with a string of live albums, so A La Sala marks a return to where they began, just the three of them jamming together. Yet with them, they bring the influences of their travels and newly discovered records of the world, adding new flavor, wisdom and flourishes to their sound.

Leon Bridges & Khruangbin's DJ Johnson Talk Magic Of New EP 'Texas Moon,' Bringing The Church & Houston Hip-Hop Into Their Music

Kim Gordon
Kim Gordon performing in 2023

Photo: Jason Squires/FilmMagic


5 Songs To Get Into Kim Gordon's Solo Work, From "Change My Brain" To "I'm A Man"

An ocean of ink has been spilled about Sonic Youth's indomitable legacy, which includes a bounty of Kim Gordon songs. With her new solo album, 'The Collective,' out in the world, press play on five great songs from her post-Sonic Youth discography.

GRAMMYs/Mar 14, 2024 - 02:11 pm

The Beastie Boys' Ad-Rock once offered a brilliant observation of Kim Gordon. "Wherever Kim ends up, she is the coolest person in the room," he told The New Yorker in 2013. "But I know her, and I know she'd rather be at home grilling hot dogs."

How much more succinctly could one put it? Since Sonic Youth tortured their first Jazzmaster, Gordon has radiated mysterious cerebral, enveloping art, while never coming across as an arteest.

Gordon's vital contributions to the band, from "'Cross the Breeze" to "Bull in the Heather" and beyond — coupled with cool you could cut with a knife — cemented her as an alternative icon.

So much so, that when she and romantic and creative partner Thurston Moore split in 2013 — which took Sonic Youth down with them — Gordon arguably won the public in the divorce.

The four members of Sonic Youth have remained active with various projects, and Gordon's have been some of the most enticing. She hit the ground running with Body/Head, a collaboration with guitarist Bill Nace — and formed another duo, Glitterbust, with fellow axeman Alex Knost.

Gordon has also released two solo albums — and the last one, especially, is turning heads. The Collective, which dropped March 8 via Matador, is like a T-bone between rap production and the shattering noise she's made her own.

As you absorb this sui generis piece of art — from opener "BYE BYE" to closer "Dream Dollar" — take a spin through five songs that act as entryways to Gordon's solo years.

"Change My Brain" (Body/Head's The Switch, 2018)

At its best, Gordon's noise is tactile, overwhelming; it's like big muscles. "Change My Brain," from Body/Head's 2018 album The Switch, is a glorious, 10-minute thicket of fuzz, with a rounded and iridescent center that undulates like a glow worm.

"Air Bnb" (No Home Record, 2019)

The top comment on the official "Air Bnb" music video is genius: "This is the best video I've ever read." It consists of a black screen, explaining that the funding just wasn't there for Gordon to crawl and cavort through a mid-century modern  rental. Instead, the video describes all the details as Gordon sings about the Air BnB that "could set me free."

But the throttling music is a mindmovie on its own: whatever's in your head is more unsettling than what Gordon and her collaborators would have come up with.

"Murdered Out" (No Home Record, 2019)

In a press statement, Gordon evocatively explained her No Home Record banger "Murdered Out."

"When I moved back to L.A., I noticed more and more cars painted with black matte spray, tinted windows, blackened logos, and black wheels," she said, considering all its cultural implications: "Like an option on a voting ballot, 'none of the above.'"

Like the foreboding whips of its namesake, "Murdered Out" is unforgiving, ominous, devoid of light. It's also utterly gripping; turn it up loud.

"BYE BYE" (The Collective, 2024)

As usual, YouTube randos sum it up better than any music writer could. "This is the hardest shopping list I've ever heard," one writes. Another: "I'm not even surprised that it's 2024 and Kim Gordon has the sickest beats in the game."

Over a serrated trap beat, Gordon relates her itinerary: purchase a suitcase, drop pants at cleaner, call the vet, call the groomer. The final item? "Vibrator, teaser, bye bye, bye bye, bye bye."

"I'm a Man" (The Collective, 2024)

Gender-flipping's been a thing since the dawn of rock 'n' roll, and it's been baked into indie from its inception. But only a select few can make it so funny.

"So what if I like the big truck? / Giddy up, giddy up!" Gordon crows, as if she's instructed ChatGPT to approximate dummy masculinity. "Don't make me have to hide/ Or explain/ What I am inside." Checkmate to the XY-chromosomed: as usual, Gordon has the last laugh.

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(Clockwise) Nina Kraviz, Shygirl, TOKiMONSTA, Annie Nightingale, Aluna
(Clockwise) Nina Kraviz, Shygirl, TOKiMONSTA, Annie Nightingale, Aluna.

Photos: Victor Boyko/Getty Images for MAX&CO; Jo Hale/Redferns; Charley Gallay/Getty Images for Netflix; Peter Stone/Mirrorpix via Getty Images; Scott Dudelson/Getty Images


5 Women Essential To Electronic Music: TOKiMONSTA, Shygirl, Nina Kraviz & More

In celebration of Women's History Month, read on for five women working as DJs, producers, organizers and broadcasters whose contributions have shaped the dance and electronic space.

GRAMMYs/Mar 7, 2024 - 02:30 pm

A dance floor just isn’t the same without a bustling crowd of attendees bobbing to the beat. Nor would electronic music be electronic music without its culture-shifting women.

Women are effecting change while commanding dance floors, a duality inherent to the experience of being a woman in electronic music. Although women are becoming more visible across the genre — gracing the covers of editorial playlists, starting labels, and topping lineups — most do not operate in the limelight. Many, like some of the changemakers underscored below, work tirelessly behind the scenes toward a more equitable future. 

The women on this list span generations and creative roles, but are unified by their propulsive contributions to the electronic space. By persisting against the status quo and excelling at their respective crafts, they have and will continue to expand what’s possible for women in electronic music. 

To honor Women’s History Month, highlights some of the many needle-moving women in electronic music, as well as one rising talent, working as DJs, producers, organizers, and broadcasters.

Annie Nightingale

Radio Broadcaster & Television Presenter

"This is the woman who changed the face and sound of British TV and radio broadcasting forever. You can’t underestimate it," fellow BBC Radio 1 broadcaster, Annie Mac, wrote in an Instagram post honoring the life and legacy of the late Annie Nightingale. Nightingale died on Jan. 11, 2024, at her home in London. She was 83.

There is nothing hyperbolic about Mac’s characterization of Nightingale. After beginning her career as a journalist, Nightingale went on to have an enduring impact on the airwaves and was a pioneering presence in radio and television broadcasting. In addition to becoming BBC Radio 1’s first woman presenter, Nightingale, who joined the station in 1970, was also its longest-serving host. She maintains the Guinness Book of Records’ world record for the"Longest Career as a Radio Presenter (Female). Nightingale notably also co-hosted BBC’s weekly TV show, "The Old Grey Whistle Test." 

Across her six decades in broadcasting, Nightingale became both a trailblazer and, later, an emblem of what was possible for women in the industry. A celebrated tastemaker who took her talents to the decks, DJing festivals around the world, Nightingale paved the way for the following generations of women broadcasters and radio DJs while famously turning listeners on to releases running the gamut of genres: punk, grime, acid house, and everything in between. In 2021, she established an eponymous scholarship (“The Annie Nightingale Presents Scholarship”) to empower women and non-binary DJs in electronic music. The three recipients selected annually are featured in a special edition of “Annie Nightingale Presents” on Radio 1.

“Ever since I began, I have wanted to help other young broadcasters passionate about music to achieve their dreams on the airwaves, and now we at Radio 1 are to put that on a proper footing,” Nightingale said at the time of the scholarship’s foundation.

Beyond broadcasting and DJing, Nightingale also embraced the written word. She published three memoirs, Chase the Fade (1981), Wicked Speed (1999), and Hey Hi Hello (2020). 



That women in the dance/electronic industry face a disproportionate amount of adversity compared to their male counterparts is no secret. These hurdles are hard enough to clear without a rare and serious cerebrovascular condition that significantly increases one’s risk for sudden aneurysm or stroke. But in 2015, TOKiMONSTA confronted both. Her sobering diagnosis — Moyamoya disease — necessitated not one, but two brain surgeries. The interventions left her unable to talk, write, or understand speech and music. 

Yet three months later, after slow and steady strides to recovery, TOKiMONSTA took the stage in Indio Valley to play to a crowd of 15,000 at Coachella 2016.

A beacon of both tenacity and invention, the name TOKiMONSTA bespeaks a laundry list of culture-shifting accomplishments in the electronic space. She was notably the first woman to sign to Flying Lotus’ Brainfeeder label, where her first album, Midnight Menu, debuted in 2010. In 2019, she earned her first-ever GRAMMY nomination for Best Dance/Electronic Album — the first Asian American producer to be nominated in the Category.

Over the years, achievement has gone hand-in-hand with advocacy for TOKiMONSTA. The Korean American electronic experimentalist has been vocal about gender inequities in the music business and was profiled in the 2020 documentary Underplayed. Directed by Stacey Lee, the production focused on dance music’s pervasive and persistent gender imbalances through women DJ/producers’ first-hand accounts of inequality. 

Nina Kraviz

DJ/Producer & Label Head

Equal parts crate digger, disruptor, and needle mover, Nina Kraviz is writing history for women in electronic music in real time. The Siberian dentist-turned-DJ-producer, whose discography dates back to 2007 (her first 12’, "Amok," was released via Greg Wilson’s B77 label), isn’t just one of the first names to break in the global techno scene — she’s also one of the first women in techno to become a headline act. 

Kraviz’s toes have touched some of electronic music’s most venerated stages, ranging from Tomorrowland to Gashouder to Pacha Ibiza, not to mention places off the genre’s beaten path. Her 2018 headline stint at the base of the Great Wall of China is a flashpoint of her rich history of propulsive contributions to the electronic space, and one as anomalous as her ever-off-the-cuff sets. Live, the avant-gardist blends techno, acid, psytrance, experimental, and house in blistering, maximalist fashion, slipping in releases from her own imprint, трип ("Trip"), along the way. 

Kraviz has spearheaded the subversive label since 2014, where she’s deftly blurred the lines between emergent and established talent across its tally of releases. In 2017, she launched Galaxiid, an experimental sublabel of трип, an endeavor that has further substantiated her status as one of electronic music’s finest and most eccentric selectors. 


Singer/Songwriter, DJ/Producer & Label Head 

After making an early name for herself as one-half of the electronic duo AlunaGeorge, Aluna Francis, known mononymously as Aluna, has compellingly charted her course as a solo act since 2020. As she’s sung, song written, and DJ/produced her way to prominence, the Wales-born triple-threat continues to demonstrate her artistic ability while re-emphasizing electronic’s Black, Latinx, and LGBTQIA+ roots, flourishing amid her own creative renaissance.

In 2020, Aluna penned an open letter addressing the lack of diversity and pervasive inequality in the dance/electronic ecosystem. Following a lack of true change, Aluna has tirelessly extended her hand to acts from underrepresented groups in an effort to diversify the white, heteronormative dance/electronic industry. Near the end of 2023, in partnership with EMPIRE, Aluna founded Noir Fever to "feed the future of Black Dance Music." The label will broadly embrace Black dance music, with an emphasis on female and LGBTQIA+ artists. 

"Every time I found myself on one of those dry, outdated festival lineups or playlists with no other Black women, I’d ask myself, what would have to change for this to not happen again?How can I create a sustainable pathway and not just an opportunity for tokenism?" Aluna shared in a series of tweets announcing Noir Fever last November. "It was obvious to me that a label would give me the opportunity to do that and ultimately ensure the hottest new Black Dance Music is being supported." 


Singer/Songwriter, Rapper, DJ/Producer

In one breath, she’s opening for Beyoncé on the Renaissance World Tour. In another, she’s toplining a glossy club hit. In yet another, she’s cerebrally delivering bars with both control and cadence. Shygirl’s wheelhouse is a multidimensional kaleidoscope of artistic abilities: she can sing, she can write songs, she can rap, and she can DJ/produce. Simply put, there’s not much that the vanguard of experimental electronic music in the making can’t do. 

The 30-year-old multi-hyphenate, studied under Sega Bodega, Arca, and the late SOPHIE. She expertly flits between hyperpop, grime, industrial hip-hop, electronica, and R&B, among other styles, on her gamut-running releases. But Shygirl does so with idiosyncrasy and flair — two traits that define her approach and distinguish her singular sound. Even Rihanna has taken notice — Shygirl’s 2016 single alongside Bodega, "Want More," soundtracked one of Fenty Beauty’s advertisements in 2019.

Shygirl's Club Shy EP landed on Feb. 16; she helms a party series of the same name that started in East London and has since stopped by Los Angeles, Brazil, Chicago, and New York. 

Though Shygirl no longer runs the label arm of NUXXE, the hybrid club collective/record label she co-founded made waves following its establishment in 2016. In addition to releasing Shygirl’s first single ("Want More"), NUXXE pushed out other trajectory-solidifying productions, including her debut EP, Cruel Practice, while empowering her with a fluency in label operations that will serve her well as she increasingly expands her electronic footprint. 

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Doja Cat & SZA GRAMMY Rewind Hero
(L-R) Doja Cat and SZA at the 2022 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy


GRAMMY Rewind: Watch Doja Cat & SZA Tearfully Accept Their First GRAMMYs For "Kiss Me More"

Relive the moment the pair's hit "Kiss Me More" took home Best Pop Duo/Group Performance, which marked the first GRAMMY win of their careers.

GRAMMYs/Mar 1, 2024 - 06:11 pm

As Doja Cat put it herself, the 2022 GRAMMYs were a "big deal" for her and SZA.

Doja Cat walked in with eight nominations, while SZA entered the ceremony with five. Three of those respective nods were for their 2021 smash "Kiss Me More," which ultimately helped the superstars win their first GRAMMYs.

In this episode of GRAMMY Rewind, revisit the night SZA and Doja Cat accepted the golden gramophone for Best Pop Duo/Group Performance — a milestone moment that Doja Cat almost missed.

"Listen. I have never taken such a fast piss in my whole life," Doja Cat quipped after beelining to the stage. "Thank you to everybody — my family, my team. I wouldn't be here without you, and I wouldn't be here without my fans."

Before passing the mic to SZA, Doja also gave a message of appreciation to the "Kill Bill" singer: "You are everything to me. You are incredible. You are the epitome of talent. You're a lyricist. You're everything."

SZA began listing her praises for her mother, God, her supporters, and, of course, Doja Cat. "I love you! Thank you, Doja. I'm glad you made it back in time!" she teased.

"I like to downplay a lot of s— but this is a big deal," Doja tearfully concluded. "Thank you, everybody."

Press play on the video above to hear Doja Cat and SZA's complete acceptance speech for Best Pop Duo/Group Performance at the 2022 GRAMMY Awards, and check back to for more new episodes of GRAMMY Rewind.

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