GRAMMY-nominated dance duo SOFI TUKKER have announced the R.I.P. Shame World Tour, where they'll bring their bright, dynamic live performance across North America and Europe along with "a mission to kill shame one loose dance party at a time," according to a press release.

Less than a month after Sophie Hawley-Weld and Tucker Halpern wrap up what is set to be a busy summer filled with music festival appearances and DJ sets across the globe, the dynamic duo will kick off the North American leg of R.I.P. Shame in Calgary, Alberta on Oct. 2. They have 13 more new dates slated for this side of the globe, including stops in Oakland, Calif., their current hometown Los Angeles, Austin, Texas and New Orleans. The tour concludes in the band's hometown of Brooklyn, N.Y. on Oct. 24.

A stellar crew of dance-music-making ladies will be supporting all North American tour dates: Aussie dance trio Haiku Hands and L.A.-based femme-house DJ/producer LP Giobbi.

SOFI TUKKER will also be performing at Corona Capital Mexico City fest on Nov. 16, before they make their way over to the other side of the country for the European leg of the booty-shaking trek. With 13 Fall dates slated in Europe, they begin in Dublin on Nov. 20 and wrap up in Brussels on Dec. 10.

The press release explains that not only can fans expect a completely revamped live performance, but new music as well: "[They] are planning an entirely new show that will follow the release of a new body of work this fall."

Additionally, the band will continue their partnership with Arcade Fire-founded non-profit organization PLUS1, meaning that $1 from every ticket purchased goes to social good, in this case to "support mental health initiatives." HeadCount will also be returning to their U.S. shows to help get fans registered to vote.

A few weeks ago, SOFI TUKKER dropped their latest single, "Playa Grande," a joyful collab with Bomba Estéreo and one of several fire tracks following their GRAMMY-nominated album, 2018's Treehouse. Along with the tour announcement, they shared a chilled "Playa Grande" remix by Brooklyn-based DJ/producer Uproot Andy.

Tickets for all tour dates go on sale this Fri., June 21, with a North American pre-sale currently taking place; more info can be found on their website.

Watch: SOFI TUKKER & Bomba Estéreo's "Playa Grande" Will Get You Dancing Right Now

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

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

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

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

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

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

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

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

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

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

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

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After traveling the world together over the past decade, there's one thing EDM duo Sofi Tukker quickly agrees on: staying healthy is the top priority. That's why their tour rider primarily consists of fruits, vegetables and vegan snacks.

"Our rider is filled with things like kale, avocado and olive," Sophie Hawley-Weld explains in this episode of Herbal Tea & White Sofas. "We both have pretty restrictive diets. We're trying to be as healthy as we possibly can be because we want to give out the best energy every night, and traveling for a living is not easy."

Her bandmate Tucker Halpern emphasizes that they always request a trash bag full of ice — a surprisingly disputed item. "The most controversial thing, especially in Europe, is ice," Halpern says. "People will fight you about it!"

Hawley-Weld often opts for a cryo tank, a sensory deprivation tank filled with salt. "I find that to be one of the most recharging things I can do. I think it's polar opposite to what we do on stage."

The duo is also slated to appear at more than 10 music festivals this summer, including the Governors Ball, Bonnaroo, Electric Forest, Lollapalooza, and Osheaga. Sofi Tukker most recently returned to Coachella, where they live-debuted their latest single "Jacaré," a cheeky Portuguese-language single inspired by Hawley-Weld's longtime appreciation for Brazilian culture. 

Press play on the video above to learn how Sofi Tukker stays in shape while on tour, and check back to GRAMMY.com for more new episodes of Herbal Tea & White Sofas.

Inside Tiësto's Pulse-Pounding Musical World: 7 Keys To His Global Superstardom & Journey To New Album, 'Drive'

Kabaka Pyramid answers to a higher power — and his third album, fittingly titled The Kalling, is a testament to his beliefs.

The Kingston-born rapper, singer and producer is one of a handful of artists bringing positivity back into reggae, often channeling the empowered, political, and spiritual vibes of  roots artists. Kabaka Pyramid is often labeled a "reggae revivalist" for this reason, but The Kalling manages to be both classic and incredibly of the moment. And while his previous albums Victory Rock and Kontraband are testaments of lyrical and genre-blending prowess, Kabaka's latest is a notable ascension.

One of five nominees for Best Reggae Album at the 65th GRAMMY Awards, The Kalling showcases Kabaka's passion for using hip-hop, soul and dancehall to iterate on the sound of conscious reggae. The record also overflows with messages of growth, contemplation of addiction, and gratitude — an antidote to some of the more crude attitudes present in Kabaka's favorite genres.

"The older I got, the more I felt responsible to represent myself in a certain way," Kabaka tells GRAMMY.com from his home in Miami. “I wanted to inspire, like how artists like Sizzla and Damian Marley inspired me. I wanted to have a similar effect, and I knew I needed to put out positive music to do that.”

Kabaka called upon his community to achieve this vision. The Kalling was produced by the reggae scion also known as Jr Gong, and features the late icon Peter Tosh in addition to Buju Banton, Jesse Royal and fellow 2023 nominee Protoje. Together, they created an album that pulls from contemporary pop, rap and '80s era reggae, with songs that are meditative ("Stand Up"),  club-ready ("Energy" and "Mystik Man"), and fit for a kickback ("Mary Jane").

Ahead of the 2023 GRAMMYs, the first-time nominee spoke to GRAMMY.com about inspiring higher vibrations through music and action.

Was the GRAMMY nomination a milestone you were working towards, or one that caught you by surprise?

I was shouting, screaming, everything; a couple tears of joy. I'm probably the only person on my team and label that it kind of caught by surprise. I just always thought that the GRAMMY was just this huge thing and something that is best if I don't think about it too much, because I feel like that can lead to disappointment.

So I was just more focused on putting in the work and really representing myself with the music, and then let the awards come. But it's definitely a huge achievement for me. I wouldn't have dreamed of it when I was back in high school, but here I am now, so I have to give thanks.

It's cool to reflect on how far you've come — like, man, I'm living out my dreams from high school or dreams you didn't even know you had.

I'm 37 now, so it's been a 20-year journey since I first started to pencil down some lyrics. And most people start super early, whether they're in the church, or in the choir, or whatever it is. Or they come from a musical family, so they watch their parents do it or whatever. But for me, it wasn't that.

I always loved music, particularly hip-hop and dancehall. So I was just inspired by music, but I never thought of it as something I'd actually be doing until around 17, 18. That's when I realized that I have a talent for actually writing lyrics. And from then it was just working on my voice. A lot of self recording at home, home studios over the years, different places.

Tell me a bit about the creation of the album; what was going on in your life at that time?

The recording and writing and stuff was mostly throughout the pandemic. For the first few months, I was in Jamaica; Damien was sending me beats that he was working on from his studio in Miami. And eventually, I flew up and we started just going at it together in studio and from just jam sessions with me, him and his musicians, just coming up with ideas from scratch.

There were some conversations about what we want to do differently from the last album and what kind of song we wanted to go for, what kind of vibe. We wanted some traditional reggae, we wanted some hip-hop vibes in it, wanted to sample some classic reggae records as well as some soulful stuff. "Grateful" was a soul record that was sampled, and of course, "Mystik Man" [featuring] Peter Tosh is originally "Fade Away" by Junior Byles, a classic reggae record too.

Over two years, it just slowly but surely started to shape itself. We did "The Kalling" and Protoje and Jesse came to studio while Stephen [Marley] was recording, and they ended up dropping their verses that night. And I knew from that night that this would end up being the title track for the album. And we just kind of themed the whole album around "The Kalling." Having a higher calling, a higher purpose to the music, tying it into the teachings of Rastafari and what it means to me. It was just a beautiful process.

What do those Rastafari teachings mean to you and how are they presented on this album?

For me, Rastafari is first and foremost about knowing where you come from, seeing yourself as royalty, as kings and queens — especially for Black people who have been through slavery and coming to the West by force. So it's really a reconnection to Africa, but it applies to anybody that wants to reconnect with who they are, where they're from, and their identity.

We practice a vegan diet, ital, and man and woman relationships — being wholesome, the family unit. These are all Rastafari is and is coming from his Imperial Majesty, the emperor of Ethiopia. Ethiopia being the country that was never colonized in Africa, that really maintained their identity. That's really where Rastafari culture and expression stems from.

This record also has a lot of messaging around being aware of yourself and your addictions, and things that you're doing in your daily life that might not be so healthy. Was that something that you've been thinking about for a long time, or was it something that came to you during this production process?

As Rasta, we reason about these things all the time. It's all about looking at how we live, what's our mentality towards life. And a song like "Addiction" just came out of countless reasonings about social media, about our phones, about the radiation and our phones give off. I don't sleep with my phone near me because I wake up with headaches.

I felt like that song was so important because with the pandemic, we're taught to social distance, we're taught to stay inside and we just turned to our phones and our devices. So we're even more technologically oriented now after the pandemic than even before. It’s kind of continuing from a song I did from Kontrabrand called "Everywhere I Go."

The Kalling is much more centered in traditional reggae, though "Energy" is sort of pop and R&B, and the opening track from your last record is a pop tune. Yet you're branded as this revival reggae artist. What are your thoughts on that?

The whole revival thing came about in like 2011, 2012 when my first reggae project came out; Protoje's album was out, Chronixx [had] transitioned from being a producer/songwriter to being a recording artist, and he took Jamaica by storm. We started going to Europe with our bands, and I think that is what really cemented the whole idea of a revival, because …there was kind of a dying down of Jamaicans coming with their bands. And you had [Jamaican artists using] these backing bands that were local in Europe because it was more economical. And then a lot of artists couldn't travel anymore because of what I consider their freedom of speech being questioned and violated. So you had a lot of key artists that couldn't travel.

So because of that, when we came on the scene, it was very refreshing for people to see these young acts in their 20s coming with their bands and sacrificing where we could have made more money if we went with backing bands, or with track shows or whatever. And then not only that though, we were sampling Black Uhuru records and Sly and Robbie bass lines, and drum and bass.

If you check my song "Revival," "Here Comes Trouble" [by] Chronixx, and Protoje's "Kingston Be Wise," all of these tracks kind of brought back an '80s vibe. And then when we translate them on stage with the bands, people felt like it was a revival of the '70s and '80s.

Musically we definitely fuse a lot of the sounds. There's modern elements, there's hip-hop elements, R&B, pop elements to it too, because we're all influenced by that. We're in an era where artists kind of have more creative control with their sound — it's not like you just go to one producer that has one sound. We can call on different producers, we produce ourselves and the stuff that we are influenced by, that's what we try and recreate.

So it's partially a revival of sound but also a revival of style and performance.

Definitely.

Are there any tracks on The Kalling that you're particularly proud of?

"Mystik Man," I’m really proud of that, especially with the whole Peter Tosh family behind the song. We were able to list it officially as featuring Peter Tosh, so I have a song with one of my idols. Overall, his life, what he represents, his mission — him and Sizzla are right up there in terms of who inspire me the most. "Addiction" from a songwriting perspective, I'm really proud of that one.

I'm proud of the fact that I stuck to my roots. When I was early in my career, I couldn't sing to save my life; rapping was easier for me to do. I was working on my reggae, but I wouldn't let anybody hear those songs. So doing a song like "Kontraband pt. 2" where I'm rapping with this Jamaican accent, [or] "Mystik Man," — being able to represent that and still maintain my identity as a Jamaican [and] as a reggae artist, and to get nominated, is a great achievement for me.

I read in Dancehall Magazine that you think that the subject of a lot of Jamaican music is holding artists back. How did you try to combat that notion on The Kalling?

I think my music is naturally more wholesome. It's more readily accessible to older and the young. Maybe it can be a bit too deep for some people, but just generally speaking, I don't put a bunch of slack lyrics or derogatory lyrics to women or violence, gun violence. And that's kind of typical for Jamaican music. But I feel these younger artists are kind of pushing the limits of it. There's a lot of talk about drug use now in songs, and scamming, and all of them kind of things.

I've seen artists that are on the verge of breaking into mainstream do collaborations with other mainstream acts, but then it's just crazy curse words in the song and super derogatory lyrics. I could see somebody at a radio station like, "no, I can't playlist this because it's too difficult." Especially, being an international artist. So it's trying not to shoot ourselves in the foot by having too extreme lyrics.

How did you meet Damien Marley and what did he bring to this project?

I met him at the Bob Marley Museum, I think it was around 2013. He was shooting some videos with Nas for Distant Relatives.

The first time working with him, he sent me a riddim that he wanted to do a juggling [on]. It was originally a Wayne Marshall record, but he wanted to voice some other artists on it and Chronixx, Juliann Marley, others are on it too. I wrote the song "Well Done" on it, and we all loved the song. I was there when the song was being mixed and prepared, and that's when we really bonded, and we started to just hold our vibe, reason about music.

We played football at the field at his house. And it just felt like a brother kind of relationship from early. He's like a mentor to me; I ask him advice and everything musically. And just being with him, I learned so much about sharpening up my songwriting skills and making my lyrics more potent and more absorbable for people. From there, we just grew to the point where we had a discussion about doing two albums at minimum, and we did Kontrabrand.

He produced five of the tracks [on The Kalling], but it was all put together in his studio, [and] he executive produced the project. I wanted to give him the chance of doing a whole entire album. I felt like there was enough versatility with his production style to do it. I think he really did an excellent job. It's almost like it doesn't make sense to not do an album with him anymore.

Is there somebody who gave you props about this record that were really meaningful?

I just got a very long voicemail from Pressure Buss Pipe, who is an artist I'm really inspired by. He was telling me how much I stepped up with this album, and I'm just in the right gear now. It was really a heartfelt voice note. He's somebody that I listen to a lot, and his vocal ability inspires me, and his songwriting. I have five, six, maybe seven songs with him too.

I should say Protoje was one of the first people to call me when I got nominated. And obviously, I congratulated him as well. And even how excited Damian is [means a lot], because he's not somebody that gets excited very easy. There’s not many others who can impress you more than Damian Marley, you know what I mean?

Why did you want to feature Protoje on The Kalling and, together, what are you guys showcasing about contemporary Jamaican music?

Protoje is somebody I always want to collaborate with. He was instrumental in the start of my career; most of [my 2011 EP] Rebel Music was recorded at his home studio. About four of the beats were beats that he gave me and from other producers. Europe knew about me because Protoje kind of helped me to get my name out there. And I respect him so much.

We're all about innovation. I think Protoje's [nominated] album is super cool. The intro and "Family" and "Hills" kind of go back to his original, more hip-hop flavor. Both of us have evolved so much vocally; I love the vocal tones that he experimented with on his album. And sonically, he's always pushing the genre further and I really appreciate that about him. And similar with me, there's so much versatility around the album, but still rooted in reggae.

The two of you are nominated in a category that has a next generation artist and very established musicians. How do these nominees reflect the state of reggae?

It means a lot for everybody now because of who won last year. Big up to SOJA; I really think they put in a lot of work in this music industry, especially in the U.S. And they unified the whole U.S. reggae industry on their album; they featured all of the major acts in the U.S. and I really think it was effective.

But people see it and say, "Oh, reggae is being taken away from Jamaica" and there was a lot of backlash for that. Based on that, it's very refreshing to see an all-Jamaican lineup of artists; artists that have done so much for the industry who have been on the frontline internationally, who put out wholesome music too. It's not like any real slackness is being represented.

I would hope that this lineup of artists inspires the younger generation that you can do music without all of the negativity and it can reach the highest level. It's not that the U.S. is greater than any other nation, but it's our biggest market for the music. So to be recognized within the U.S. with this GRAMMY Award is tremendous, and everybody feels it and appreciates it.

There’s so much versatility represented: Shaggy, did a Frank Sinatra cover album. Sean Paul is modern dancehall pop. Koffee is kind of similar, but there's so much fusion going on there and she's so lyrical and so young and, just blowing up all over the place. Me and Protoje are kind of in a similar bracket. It's an interesting group.

Speaking of the next generation, who or what are you listening to these days that's giving you life? Anybody you want to big up?

There's a bunch of artists, Medicine, who actually did some songwriting on my album. Irie Soldier, Nattali Rize, Runkus, Royal Blue, Blvk H3ro, Imeru Tefari, Five Star. There's a bunch of artists out there that's doing good music, and I'm always here to support them and want to do some more production with them as well. The future is bright, for sure.

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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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