When Mary Lambert recorded the chorus of Macklemore & Ryan Lewis' "Same Love" in early 2012, she was working three jobs. An aspiring singer/songwriter on the side, Lambert landed the feature through her peer in Seattle's art scene, Hollis Wong-Wear, who had worked with Macklemore and Lewis on their track "White Walls." It was a big opportunity for Lambert, as Macklemore & Ryan Lewis were coming off of a No. 1 hit with 2011's "Can't Hold Us." But more importantly, she was able to provide her voice to one of the decade's biggest LGBTQ+ anthems.

"Same Love" — a call to action to support marriage equality — was released in July of 2012, nearly three years before same-sex marriage was legalized nationwide. It became a radio hit around summer 2013, when the Defense of Marriage Act was struck down. While songs like Madonna's "Express Yourself" or Whitney Houston's "I Wanna Dance With Somebody (Who Loves Me)" have long been hailed as Pride anthems, "Same Love" was one of the first mainstream hits to outwardly vocalize support for LGBTQ+ rights and marriage equality, and to condemn stereotypes attributed to people of the community.

Macklemore was partially inspired by his gay uncle, who is mentioned in the song's first verse, when writing "Same Love." But he felt particularly inclined to write the song upon reading about a teenager who killed himself after being bullied for his sexuality, he revealed in a 2013 interview with New York Times.

"I just wanted to hold myself accountable," Macklemore said, "and hold hip-hop accountable and bring up an issue that was being pushed under the rug."

Lambert, then 22, had a different personal connection to "Same Love," as she came out as a lesbian when she was 17. (She alludes to her sexuality in the chorus, in which she sings, "And I can't change/ Even if I tried/ Even if I wanted to/ My love, my love, my love/ She keeps me warm.") While she wasn't sure how the song would be received, Lambert knew she was part of something special — so special, in fact, that she told her three bosses that she may need Sundays off during awards season.

Her instinct was right: "Same Love" was nominated for Song Of The Year at the 2014 GRAMMY Awards, where Lambert — alongside Macklemore & Ryan Lewis, Madonna and Queen Latifah — delivered a powerful performance of the song that saw gay and heterosexual couples get married on live television. Queen Latifah officiated the mass wedding, and near the end of the performance, Madonna arrived on stage, singing a portion of her 1986 hit "Open Your Heart" before joining Lambert in singing the final chorus and outro of "Same Love."

The monumental moment was an idea that was born out of a conversation then-GRAMMYs producer Ken Ehrlich had with his daughter, who identifies as a lesbian. His daughter mentioned that some same-sex couples had set some of their engagement and marriage videos to "Same Love," and that the song had garnered much popularity in the LGBTQ+ community.

"A light bulb went on in my head," Ehrlich says. "We could conceivably do a performance on the show where we brought together a number of couples, and not just same-sex couples. I wanted to try and universalize it in one way, and show the importance of diversity and embracing all of our communities. I wanted to demonstrate that it's not unusual, but it's universal." 

Once he had the Recording Academy on board with the concept, Ehrlich reached out to Latifah to ask her to marry all of the couples. Not only did she say yes — she obtained an ordained minister license specifically for the performance.

Read More: Where, What Channel & How To Watch The Full 2023 GRAMMYs

As Lambert recalls, she was told about the mass-wedding performance in a series of phone calls as it came together. "I was like, 'Oh my God, I already I cry at one wedding, how am I gonna hold it together for 33 weddings?'" Lambert jokes. "I got [a] call that was like, 'Can you do a duet with Madonna?' And I was like, 'Oh my God. This isn't real.' A week later, I got a call saying Queen Latifah is gonna marry couples. And then I'm like, 'Is someone gonna get resurrected next?'

"Every week, it just felt more and more surreal," she continues. "I remember each of those phone calls and just being like, 'This is just f*ing unbelievable.'" 

The 2014 GRAMMYs marked a pinnacle moment for "Same Love," but its impact had already been solidified. Though the song had a slow burn on the charts upon its 2012 release, it eventually peaked at No. 11 on the Billboard Hot 100 in July 2013. Within that year, the Defense of Marriage Act became a hot-button topic, as the United States Supreme Court had declared DOMA — which denied same-sex couples the benefits and legal recognition given to opposite-sex couples — unconstitutional the month before.

Macklemore and Lewis always meant for "Same Love" to make a social impact. The song was unofficially adopted as a campaign song for Washington State activist groups working to pass Referendum 74 to legalize same-sex marriage in the state. A portion of proceeds from "Same Love" were donated to Washington United for Marriage, as the state is home to Macklemore, Lewis and Lambert.

The song's accompanying music video, directed by Jon Jon Augustavo, depicts the life of two queer men, as they grow from their youth in love, into their marriage, and arrive together to their old age. While many attributed the song and its video to the approval of Referendum 74 in Washington State in November 2012, Augustavo said in an interview with IMVDB that neither he — nor Macklemore or Lewis — feel comfortable taking credit for this.

"I think all of us that were involved do feel we're a small part of it," Augustavo said. "You have to say at least the audience that the video hit, their audience for music, ages 16-26 or so, you have to believe it at least educate them about, or at least encouraged them to look up, what Referendum 74 was. With it being passed, hopefully we played a small part in that."

Macklemore isn't subtle about the fact that "Same Love" is a pro-gay anthem, even declaring his own stance in the song's second verse: "No freedom till we're equal/ damn right, I support it."

He also uses the verses to call out those who don't, including "right-wing conservatives" and religious groups, as well as those who use the term "gay" in a derogatory sense. But perhaps his most powerful lyric makes a statement that is equal parts thought-provoking and change-making: "It's the same hate that's caused wars from religion/ Gender to skin color the complexion of your pigment/ The same fight that lead people to walk-outs and sit-ins/ It's human rights for everybody/ There is no difference."

Read More: The Rise Of The Queer Pop Star In The 2010s

Commercially, "Same Love" became anthemic at a time when LGBTQ+ artists didn't have much of a presence on mainstream radio. According to New York Times, "Same Love" was "the first song to explicitly embrace and promote gay marriage that has made it into the Top 40," per gay rights activists and radio executives.

"The fact that a song solely dedicated to the message of marriage equality is climbing the charts and quickly becoming a popular song across the country is a big deal," said Charlie Joughin, a spokesman for the Human Rights Campaign, in a 2013 interview. "It's indicative of a changing attitude."

One could argue that its popularity and presence on the radio opened the doors for LGBTQ+ artists to thrive in mainstream pop. A year later, Sam Smith would make their proper debut with their 2014 single, "Stay With Me." USA Today named "Stay With Me" Song of the Year in 2014, saying, "'Stay With Me's' gospel-tinged piano and Smith's sweet, heart-tugging falsetto struck a chord of universal yearning, like the living embodiment of Macklemore & Ryan Lewis' 'Same Love.'"

But with the success also came controversy, as some members of the LGBTQ community felt Macklemore was waxing sanctimonious over something a cisgender straight man could never fully understand. In a 2014 op-ed for The New Republic, writer Brandon Ambrosino said that while he enjoys the song, he felt it sends the wrong message about being gay.

"The aversion to that word [choice] in our community stems from belief that if we can't prove that our gayness is biologically determined, then we won't have grounds to demand equality," said Ambrosino. "I think this fear needs to be addressed and given up. In America, we have the freedom to be as well as to choose to be. I see no reason to believe that the only sexualities worth protecting are the ones over which one has no control."

While some felt Macklemore's outwardly pro-gay stance seemed performative, others found that it came in earnest, and unlike anything previously on mainstream radio. "Macklemore's lyrics offered an idiosyncratic perspective on homophobia in hip-hop and American society at large, criticizing both with a mixture of gentleness and firmness that I had not heard before," Slate's J. Bryan Lowder wrote in 2013. "And most importantly, his support of the gay community felt sincere."

Macklemore and Lambert are all aware of criticisms toward "Same Love." Yet, Macklemore remains an outspoken ally to the LGBTQ+ community, and continues to donate proceeds from the song to organizations supporting LGBTQ+ equality. Lambert also remains proud of the song, and argues that people shouldn't discount it simply because of its lead artist being a cis straight white male.

"A straight white guy performing a good ally song has an element of cheesiness, but I think gay rights have progressed so astronomically fast, that people forget the impact the song had," Lambert says. "I feel like sometimes it's dismissed. I might have a little bit of a chip on my shoulder to be like, 'Don't dismiss it.' If it got released now, I'm sure it'd be a little cheesy. But in 2012, it was everything. It meant so much to a lot of people, and it certainly meant a lot to me. And it still does."

Josh Rawlings, who played the instantly recognizable piano hook of "Same Love," says he gets asked to play the song at weddings to this day. "It's still very relevant with the climate of sexual and gender identity, and all of these important movements that are still being discussed and talked about," he says. 

"It's a slow, painful process, but I have to believe that songs like these affix themselves to not just that point in human history, but they can be relevant for all of human history," Rawlings adds. "They can be songs that we claim as a real triumph. I see it's still weighing on hearts and minds."

Ten years after "Same Love"'s release, the song has once again sparked a conversation thanks to TikTok. While some queer and trans Gen Z-ers have subverted the idea that the song is "cringe," others argue that it held major meaning at the time of its release.

"It's literally crazy how progressive/brave this song was," said TikTok user @kylierobinsun. "Gay marriage wasn't even legal in the United States when this song came out in 2012. I remember hearing this and feeling at peace when I was little."

The song has been used in nearly 20,000 TikTok videos, many of which see young LGBTQ+ people sharing how the song impacted them. "I remember trying not to cry in the car when this played on the radio, trying not to out myself, because I had never heard anything like it," @peelingplums wrote. "This song made me realize that I have allies, that I'm not alone and there are people who will stand up for me and mine." 

The video blatantly contests that "Same Love" is "cringe," echoing Lambert's argument — no matter how the song has aged, it sends a message that will always be meaningful. "By today's standards, this song may be cringe," @peelingplums added, "but by 2012 standards? It was life changing."

Lizzo's Road To 'Special': How Beyoncé, Prince & Self-Love Helped Find Her Destiny As Pop's Confidence Queen

A wide, uplifting tapestry of sounds was saluted and rewarded during the 2023 GRAMMYs. The telecast's pluralistic approach delivered a view of the present as a time of musical splendor while also celebrating its past — from hip-hop's legacy, to Latin's cultural influence, to pop's boundary-pushing stars.

Between history-making wins from Beyoncé and Kim Petras, a major victory by a young jazz sensation, and celebratory performances honoring greats, there was plenty to be reveled both on and off the GRAMMY stage. Below, take a look at the highlights of another memorable edition of Music's Biggest Night.

Bad Bunny Sticks Close To His Caribbean Roots

After global star Bad Bunny celebrated a year of extraordinary achievements — both artistic and commercial — the Puerto Rican tastemaker used his GRAMMYs performance to celebrate his Caribbean roots.

Benito could have picked an obvious selection, like the crowd-pleasing single "Tití Me Preguntó." Instead, he focused on the soulful roots of Puerto Rico and the Dominican Republic by performing electrifying renditions of "El Apagón" and "Después de la Playa." 

Bad Bunny has demonstrated time and again a gift for reinventing Latin genres. And yet, "Después de la Playa" kept its insanely syncopated beats and feverish brass section faithful to traditional merengue. The late Dominican icon Johnny Ventura would have been proud.

The Fans Receive A Much-Deserved Spotlight

The awards, record deals and critical raves are indispensable elements of stardom. But in the end, it is the contributions of average fans that sustain a career. With that in mind, the GRAMMYs organized a roundtable with 10 studious fans, each making a case for their favorite performer to win the Album Of The Year award. 

To their delight — and genuine surprise — host Trevor Noah invited them on stage for the coveted award, asking one of the most devoted fans in Harry Styles' pack to announce his win. The two shared a joyous embrace before she handed him his golden gramophone, serving as a touching closing reminder that the fans mean everything.

The Magic Of Motown Becomes Transformational

A brisk tribute to Motown co-founder Berry Gordy and musical genius Smokey Robinson — three songs, augmented by an inspired Stevie Wonder — proved that words will never be enough to capture the label's contribution to pop culture. A factory of beautiful dreams, Motown gave us a string of timeless hits that combine aural poetry with propulsive rhythms, honeyed hooks and virtuoso arrangements. Seeing the 82 year-old Robinson perform the 1967 classic "The Tears of a Clown" was one of the evening's most dazzling moments. (The performance also featured Wonder's rendition of the Temptations' "The Way You Do The Things You Do" and a duet with country singer Chris Stapleton on Wonder's own "Higher Ground.")

Honoring The Past Shows The Future Is Bright

2022 was a year of artistic triumph, but also of tremendous loss. The In Memoriam segment of the telecast was sobering, also honoring performers who are lesser known in the United States but definitely worthy of a mention — such as Brazil's Erasmo Carlos and Argentina's Marciano Cantero. 

It began with a stately rendition of "Coal Miner's Daughter" by Kacey Musgraves in tribute to country legend Loretta Lynn, then continued with Quavo and Maverick City Music honoring Migos' Takeoff, ending with an homage to Fleetwood Mac's Christine McVie from Sheryl Crow, Bonnie Raitt and Mick Fleetwood. Many artists were lost during the past 12 months, but their music lives on.

A Queen Breaks Records — To A Disco Beat

Beyoncé was allegedly stuck in traffic when she won her third GRAMMY of the evening — Best R&B Song for the joyful single "CUFF IT" — which, as Trevor Noah noted, put her one win away from making GRAMMY history. Luckily, by the time her name was announced for that record-setting feat, she was in attendance — and very much in shock.

Her seventh studio LP, RENAISSANCE, won Best Dance/Electronic Album. The win put her GRAMMY total at 32, marking the most wins of all time. Visibly emotional, Beyoncé first took a deep breath and said "I'm trying to just receive this night"; before heading off stage, she made sure to honor the queer dance pioneers who inspired the album, an exuberant tribute to classic dance format. 

Hip-Hop Shines As A National Treasure

2023 marks the 50th anniversary of hip-hop — so, naturally, the GRAMMYs put together perhaps the most legendary celebration possible. Featuring the Roots, Run-DMC, Queen Latifah, and many, many more, the nearly 15-minute performance highlighted the genre's influence from past to present.

The parade of legends tracing the history of the genre was breathtaking. From Grandmaster Flash ("The Message") and De La Soul ("Buddy") to Missy Elliott ("Lose Control") and Lil Uzi Vert ("Just Wanna Rock"), the extensive medley gave hip-hop its rightful place of honor as the most compelling musical movement of the past 50 years.

The Art Of Songwriting Stands The Test Of Time

One of the show's most endearing images was the utter shock on Bonnie Raitt's face when she was announced as the winner of the Song Of The Year GRAMMY — perhaps because her competition featured the likes of Beyoncé, Adele and Harry Styles. "This is an unreal moment," she said. "The Academy has given me so much support, and appreciates the art of songwriting as much as I do." 

In retrospect, Raitt's win shouldn't surprise anyone who is aware of her superb musicianship — and her 15 GRAMMYs to show for it. A rootsy, vulnerable song, "Just Like That" is the title track of her eighteenth studio album; the song also took home the GRAMMY for Best American Roots Song earlier in the evening.

Lizzo Dedicates Her Grammy Win to Prince (And Beyoncé)

By the time Record Of The Year was announced, the prodigiously gifted Lizzo had already brought the GRAMMY house down with rousing performances of the funky "About Damn Time" and the anthemic "Special." But clearly the best was yet to come, as the former track took home one of the night's biggest honors.

As Lizzo began her speech, she paid homage to Prince, who both served as an idol and a mentor to the star. "When we lost Prince, I decided to dedicate my life to making positive music," she said, going on to explain that while she first felt misunderstood for her relentless positivity, mainstream music has begun to accept it — as evidenced by her win for "About Damn Time." 

Before leaving the stage, she made sure to give one more idol a shout-out: Beyoncé. "You changed my life," Lizzo said, reflecting on seeing the "BREAK MY SOUL" singer when she was in 5th grade. "You sang that gospel medley, and the way you made me feel, I was like, 'I wanna make people feel this way with my music.' So thank you so much."

Contrary To Popular Belief, Jazz Proves It's Far From Dead

It only takes one listen to the wondrous voice of young Bronx singer Samara Joy to understand that she follows the same path once walked by Sarah Vaughan and Ella Fitzgerald. Joy's second album, Linger Awhile, includes atmospheric versions of such classic nuggets as "Misty," "'Round Midnight" and "Someone To Watch Over Me." 

The rising star was already a winner going into the telecast, as Joy took home the golden gramophone for Best Jazz Vocal Album in the Premiere Ceremony. But when she beat out mainstream hitmakers like Latto, Anitta and Måneskin for the coveted Best New Artist GRAMMY, Joy not only set her place in the jazz firmament — it hinted that the genre may be ripe for a revival.

The Pop Concept Album Lives On

It's not only the stunning beauty of its melodies, and the pristine warmth of the production. Harry's House is a special album partly because of its vaguely conceptual sheen — the pervasive feeling that the 13 songs within are interconnected, an intimate journey into the singer's creative soul. 

At the telecast, Styles performed an ethereal reading of his luminous mega-hit "As It Was." His well-deserved win for Album Of The Year confirmed that it's perfectly valid to mix accessible pop with a sophisticated unifying theme — and if you do it really right, you may just win a GRAMMY.

Check out the complete list of winners and nominees at the 2023 GRAMMYs.

You didn't have to live through the '90s to know that 11-time GRAMMY winner Babyface is the mastermind behind so many of the decade's biggest R&B hits. Whitney Houston's "Exhale (Shoop Shoop)," Boyz II Men's "End of the Road," and Toni Braxton's "You're Makin' Me High" are just a few No. 1 singles penned by the Songwriters Hall of Fame inductee.

Babyface's legendary status is driven home by 125 Top 10 writer/producer credits, top-tier collaborations with Aretha Franklin, Stevie Wonder, Barbra Streisand, Beyoncé, and Eric Clapton, plus his own iconic hits, such as "Whip Appeal," "When Can I See You," and "Every Time I Close My Eyes." But telling compelling stories — especially from the female perspective — is arguably one of his greatest strengths, as evidenced most recently on Girls' Night Out. 

The 13-track collaboration project champions some of today's brightest female R&B stars, including Ari Lennox, Kehlani, and Queen Naija. Lead single "Keeps on Fallin'" with Ella Mai is nominated for Best Traditional R&B Performance at the 2023 GRAMMYs, which means he's now surpassed 50 GRAMMY nominations. "It was a nice surprise," Babyface tells GRAMMY.com. "It inspires you to keep doing the work."

A master of his craft, Babyface did his homework before getting in the studio with each artist on Girls' Night Out. "I needed to learn how people spoke and how melodies are different. Otherwise, I don't know if I would've been able to speak in their voices," he shares. "I have a much clearer understanding of today's R&B because there is a difference, and it's not necessarily a difference that's any better or any worse. It's just a difference in terms of time, and that's what made the process enjoyable to me."

Though Babyface took more of a mentoring approach with Girls' Night Out, he's no stranger to fostering talented female singers, particularly on the soundtrack for the 1995 movie Waiting to Exhale — which exclusively features Black women. The OST boasts a string of No. 1 and Top 10 hits penned entirely by Babyface himself, including beloved classics like Braxton's "Let It Flow" and Brandy's "Sittin' Up in My Room." 

Yet "Not Gon' Cry" by Mary J. Blige — who is nominated in six categories at the 65th GRAMMY Awards — remains among Babyface's most memorable productions for Waiting To Exhale. The timeless ballad, written from character Bernadine’s point of view after her husband of 11 years leaves her for another woman, emerged as the Black woman's anthem for showing resilience in the face of romantic heartbreak and betrayal, but the song almost didn't happen.

"The opening lyrics, 'While all the time that I was loving you, you were busy loving yourself,' just sounded like a real-life conversation, and it sounded like something Mary could say," Babyface explains. "I played it for Andre Harrell, and he said, 'It's okay, but I don't think it's the record for her… Mary's too young for this. She's not 47 years old and she ain't been married and all that.'"

He continues, "My answer to him was, 'Mary's singing for everyone else… and she ultimately became a voice for other women.' It wasn't her personal story, but her voice could deliver that."

Babyface's musical legacy developed further with the formation of LaFace Records in 1989 with music executive L.A. Reid. In the label’s glory days, LaFace launched the careers of Braxton, TLC, OutKast, Pink, Usher, Ciara, Goodie Mob, and Donell Jones. But one of his most impressive feats isn't talked about enough: that Whitney Houston selected Babyface to help usher in the more R&B-oriented sound of her third studio album, 1990's I'm Your Baby Tonight.

"They came to LaFace because they wanted a Blacker record, but when I was writing 'I'm Your Baby Tonight,' I wasn't thinking R&B… I was just writing a Whitney record," he says. "There's an urban flavor to it, but the truth is it wasn't that R&B, but everything is R&B if a Black artist touches it… the idea was to run away from songs like 'How Will I Know' and 'I Wanna Dance with Somebody' that were big records for her that they said weren't Black enough."

Babyface and Houston proved to be a winning musical duo, and "I'm Your Baby Tonight" was nominated for Best Pop Vocal Performance, Female at the 33rd GRAMMY Awards. The collaboration also gave Houston her eighth No. 1 hit, tying with Madonna for the female artist with most No. 1s on the Billboard Hot 100 at the time.

The success with divas like Houston and Braxton allowed Babyface to explore his versatility as a hitmaker for superstars outside of the R&B realm. For the lush sounds heard on Madonna's sixth studio album, Bedtime Stories, the pop icon teamed up with Dallas Austin, Dave Hall, and of course Babyface, who co-wrote "Forbidden Love" and "Take a Bow." The latter song became her longest running No. 1 hit.

"The track was already laid down and when we brought in the live strings, which was Madonna's suggestion, it became a whole other thing. I think it was the combination of my background vocals behind Madonna's that just made for a very unique song in that sense for her," Babyface recalls. "She was nervous because she just wasn't used to singing that controlled and being that vulnerable. I remember how we sat there and wrote the song together [at the Hit Factory Studios in New York City], so that's a really cool memory."

As the 64-year-old musician enters the next stage of his four-decade career, he has plenty to look forward to: Touring with eight-time GRAMMY winner Anita Baker, a possible deluxe version of Girls' Night Out, and the upcoming 30th anniversary of his third studio album, For the Cool in You, which spawned the top 5 hit "When Can I See You." (The acoustic tune earned Babyface his first GRAMMY for Best Male R&B Vocal Performance.)

For all his success, Babyface has remained humble and his greatest joy comes from being able to hear a talented vocalist bring a song he wrote to life. "The best part is when you get into the studio with this idea, this little demo and then, when someone like Whitney, Aretha, or Boyz II Men sings your song, it becomes a hit before your eyes," he says. "They take it to a place I never imagined it could go."

The Official 2023 GRAMMYs Playlist Is Here: Listen To 115 Songs By Beyoncé, Harry Styles, Bad Bunny, Kendrick Lamar & More

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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Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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