On the surface, Train's new album AM Gold is simple enough: It's partly about loving oneself, loving others, and the persistence of memory, and the music's shot through with a 1970s flair. But for singer Pat Monahan, the trick is to say something familiar in an individualized way — and very few in the highly saturated music business possess that preternatural ability.

"If I see the song title 'Home' again, I think I might cut my ears off," Monahan tells GRAMMY.com over Zoom, days before AM Gold's release on May 20. His mind then drifts to what makes a famous song so magical. "When Tom Petty is singing about being a bad boy, and all the good girls are home with broken hearts, he says 'I'm free,' but then he finishes it with 'Free falling.'"

As Monahan explains, Petty could have left the chorus at "free." But thankfully, he didn't.

That knack for making shopworn concepts like love, loss and heartbreak fresh and personal explains "Cleopatra," the GRAMMY-winning band's lush new single, premiering below. "It's a story that you learn when you're a child," Monahan says. "The vision of Cleopatra and Mark Antony and how brief their time together was."

How did he spin it into something that sounds new? Part of it's the writing; part of it's the inspired inclusion of Mexican singer Sofía Reyes. "She just sang it so much better than I ever could have done it," Monahan says. "And then, she added some Spanish to the song, which was just enough to be so romantic and beautiful."

Crank up "Cleopatra" below, pick up tickets for Train's upcoming tour with Jewel and Blues Travelerhere, and read on for an interview with Monahan about the genesis and execution of AM Gold.

This interview has been edited for clarity.

From the sound of the opening title track, you might think you're in for a full-on pastiche album. But then AM Gold hurtles into classic-sounding Train — albeit maintaining that vibe. Was that an intentional balance?

I don't think it was very conscious, to be honest. I went from writing with a bunch of professional writers in Los Angeles to lockdown, which forced me to write songs on Zoom. It ended up being that they were absolutely tremendous at this. Had I not had to do all of this virtually, I may not have recognized their talent and quality.

So, the one good thing that came out of this pandemic was getting to know the talent that is right in front of my face. Unfortunately, for me, when I write with professional writers, I tend to do more of what they are instead of them doing what I do best.

My band was the opposite — they recognized my strengths so much that they were able to help me write the songs that made the most sense for my personality and voice. Then, the record just took its own shape.

I think it's important to honor the musicians that comprise Train right now. They clearly played a major role in bringing AM Gold to life.

My favorite song on the record, still, is probably "Running Back." There's a couple that I really love, but "Running Back" came early. I was like, "Wow, we can probably do a lot of great songs if we can make this." That was with [keyboardist and guitarist] Jerry Becker and [ drummer] Matt Musty. They were actually here in my studio — in this dungeon that I live in.

And then, when it was lockdown, we just tried to continue it on Zoom — whatever we could. We would send some of these things to [guitarist] Taylor Locke and [bassist] Hector Maldonado to finish up, and have the girls — Sakai [Smith] and Nikita [Houston] — come and sing on the tracks when they were at the latter part of the writing.

What can you tell me about the song "AM Gold"?

"AM Gold" was the last track to be written, and it was basically because — as my manager would [say] — I'm not good at picking hits or even [knowing] what a good record sounds like, or album. People don't make albums anymore, but I should, because Train fans have been listening to albums for 25 or 30 years. So, I need to continue to make albums for people who like what I do.

As he was listening to 100 songs and recognized that these 11 or 13 songs were really special, he said, "This sounds like an AM Gold record." I didn't even know what that is, so I looked it up and found that these AM compilations were filled with all the yacht-rock stuff I love so much. Then, I wrote "AM Gold" to finish the record.

It had tempo, it's a self-love song, and it also fills the one part of the album I think was lacking as far as an "AM Gold" compilation record — that uptempo, disco, Bee Gees kind of thing. Or at least my version of it.

*Photo: Kimberly White/Getty Images for Capital Concerts*

Your singing throughout the album is really nice. Do you feel like you're having a growth spurt with your musicianship?

It's either that I'm growing and getting better and understanding my own voice, or autotune has really gotten great over the past 25 years. [Laughs]

**Spiritually speaking, where does AM Gold fit into your discography? Can you articulate how it expands on past albums like A Girl, a Bottle, a Boat?**

You know, I was listening to A Girl, a Bottle, a Boat the other day. We were at a Mother's Day event, and we got this room where we could all be together as a family, and they started to play music. All of a sudden, these songs from A Girl, a Bottle, a Boat came on, and I was like, "Man, I love this album. It's so different from AM Gold, but I love it."

There are albums that I listen to from Train's past, and I can't get through much of it — because I want to take it back and do it better, or whatever. It'd probably be like a writer reading a novel he wrote when he's young and now he — or she — is developed in their own craft.

I feel like AM Gold is definitely me moving forward in quality. I think the songs are less quirky. And I like quirky. I wrote "soy latte" in a love song. I like those moments of "different," but there's really no weird, quirky song on this record.

What instrumental or production techniques did you pursue to get the particular sound you wanted? Obviously, you're digging into the toolbox of the '70s.

You know, there were a few moments of clarity for me.

One was, I went and saw the Eagles, and I was so — I don't want to say "blown away," but I was impressed how musically exceptional they were. So, I really wanted guitars to have a beautiful place on this. There's little riffs. Nobody's looking for a three- or five-minute guitar solo anymore, but I wanted there to be moments of "Those are some tough guys. Seeing that live would be really special."

Another moment was that [producer and arranger] Rob Mathis, who's been a lifelong friend, wrote a string and horn arrangement on many of the songs. And when he listened to the songs, he knew [Snaps fingers] immediately what I was wanting.

So, he was like, "We're going to go for that old Philly horn/string sound from the days of all these great Philly artists." Including Hall and Oates! They had some great Philadelphia sounds in there. He knew enough to make those sorts of arrangements, and I think that really made the record a lot better.

*Hall and Oates with Pat Monahan performing in Portland, Oregon, in 2018. Photo: Anthony Pidgeon/Redferns*

Last night, I was listening to Bob Seger's Night Moves and Fleetwood Mac's Tango in the Night, marveling at how every second was packed with ear candy. Were you trying to imbue AM Gold with that quality of sweating the details?

Probably. When you hear a song before all the little fun moments, it sounds great — because it has to. If it's not a good song, it's not a good song; it doesn't matter how many special effects you put into a movie. But if you have a good song and then you add the special effects, then it's really special, and that feels good.

Because my Night Moves, when I was a kid, was [Supertramp's] Breakfast in America. Listening to all the special things happening in those songs was inspiring.

We're talking in part because we're going to help bring "Cleopatra" into the world. Can you expand on that song and how Sofía Reyes got on board?

This was a kind of early song, too, around the same time as "Running Back." I don't know why "Cleopatra" was the vision of Cleopatra and Mark Antony and how brief their time together was. It's a story that you learn when you're a child. That was the inspiration for the song, which was pretty simple.

But Sofía is a really amazing artist. And when we asked her to be part of it, she filled the void which was missing so much. I was singing the la-la-las, and it needed to be a woman, because I'm singing to a woman who's singing to me.

She just sang it so much better than I ever could have done it. And then, she added some Spanish to the song, which was just enough to be so romantic and beautiful. I really appreciate her being part of it.

And then, we made a little music video for it a couple of weeks ago. She's just the sweetest, loveliest young woman that's around. She's going to be a huge star, so I was just happy to have her be part of this as she gets to her place in ruling the world one day.

What do you specifically appreciate about her artistry?

Well, she sings with no pretentiousness. She's been doing this since she was 15. I think she moved from Mexico to Los Angeles 10 years ago; she's 26 now. That takes a lot of courage to do that, because she moved to LA with her managers. It took a lot of courage for her parents to believe that she was able to do that.

She's just a very authentic person. That's the thing I appreciate most about all people.

Same question, but regarding Jewel — who's obviously been around much longer.

I mean, talk about authentic! [Laughs.] No one's more authentic than Jewel. I've known her in a peripheral way for 20 years, and now I know her better. I love her music; I love her voice; I love her Instagram. What she speaks about and stands up for.

Also, I love that when she texted me about the tour, it wasn't like, "Hey, I'd better get my rider." She texted me, "Are there going to be any other kids out on tour this summer? Because I'd love it if my son had some kids to hang out with." What an amazing text that is! In a world of living in the entertainment business, there's a whole lot of other ways that could have gone. So, I'm really looking forward to spending time with her.

She appears on "Turn the Radio Up" and will be on your upcoming tour. Why her, specifically, for that song?

Well, she was going to do this tour with us. I sang on her record, and we just thought it'd be a good idea if we got on each other's albums for the sake of a great summer. And also, we'd been friends with each other for such a long time, so it was about time.

Do you habitually listen to your own music? Is AM Gold the kind of record you'd enjoy putting on around the house?

In the beginning, I listened to AM Gold more times than anyone will probably ever listen to it, because I wanted to make sure there's not a moment of cringe while I'm in the process. It's OK if I look back at it and go "Ugh, I wish that song was whatever." But not at the time. I can't doubt anything, because if I do, I can't expect other people to not doubt it.

I don't usually obsess on a record. I'll listen to it a lot, then I won't listen for a long, long time.

*Pat Monahan in 2002. Photo by J. Shearer/WireImage*

Whether we're talking about your past music or someone else's music, what makes you cringe about certain works? Is it just that pretentiousness you mentioned, or something else?

Well, there are just certain things where I wonder if people are trying hard enough. I mean, the goal of any storyteller is to say, "Look, we've already said the same story." But you have to figure out a creative way to say it in a way that nobody else has said it. That's the idea behind music, in my eyes.

When Tom Petty is singing about being a bad boy, and all the good girls are home with broken hearts, he says "I'm free," but then he finishes it with "Free falling." Because he could just be like, "I broke up with her! I'm free!" but he [doesn't].

So, there's a way to do music that's so creative, that I just cringe when it seems like they're just trying to get on the radio instead of saying something special in a special way.

Many artists are sick of the product they're promoting by the time it comes out, but you seem pumped about this album.

It's the opposite, because I'm really looking forward to the album being heard by Train fans. Then, we can immediately see what people are gravitating toward and playing over and over again, because that's an indicator of what we can put in our set.

There are probably 15 or 16 songs that people want to hear every night, and if we don't play them, they'll be disappointed. But we can also add a handful of new ones, and it's going to be fun for me to see which new ones people like — because they're always different than the ones I love.

I forgot to mention that my personal favorite song on the record is "Amber Light."

It's so funny you say that, because I just said it's going to be different than mine. That's the one record that I was like, "You keep complaining about 'Amber Light' and the lyrics being so simple. Should you just take it off the record?' I was like [Resigned tone] 'I don't know. I don't know if I should take it off or leave it in there.'"

That song was just so simple — about going back to high school and being in love for the first time and going to bonfires and having six-packs of beer and trying to get girls to like you. How sometimes the people who affect you the most will never, ever know it. I'm 53, and there's no way that the 53-year-old woman who made a huge difference in my life even thinks about it anymore.

That was the one song that I almost didn't want on the record, and it's so funny that that's the one your ears heard the way you wanted to hear it.

**Natalie Imbruglia Opens Up About Grief, Unconditional Love & Her Reclamatory New Album Firebird: "I Always Fly Home To Myself"**

While reggaeton and música Mexicana currently dominate the Latin music scene, Latin pop is experiencing a vibrant revival — with female artists leading the charge. Both legacy and newer acts are putting a fresh spin on the genre, and their work is resonating with a new generation of fans.

Latin pop was one of the first Spanish-language genres to go global in the 1980s, thanks to the success of artists like Gloria Estefan and Luis Miguel. Into the next decade, Ricky Martin, Enrique Iglesias, Shakira, Jennifer Lopez, Thalia, and Paulina Rubio continued to put a proudly Latin American and Spanish twist on popular musical trends in the U.S. at the time. 

After the Latin pop explosion of the 2000s with Shakira’s global crossover, Christina Aguilera embracing her Ecuadorian roots, and the breakthroughs of co-ed group RBD and Belinda, the genre waned in popularity in the decades that followed as reggaeton and Latin trap became the leading Spanish-language sounds.

As nostalgia for Latin pop reaches a fever pitch, it has experienced a resurgence. Shakira made Latin pop a main event again last year when she explored electronica with trap beats in the kiss-off anthem "BZRP Music Sessions #53." Beloved 2000s co-ed group sold out arenas across the U.S., Mexico, Brazil, and Colombia with its comeback tour. Female-fronted trio Belanova is coming back from a hiatus with the Vida En Rosa Tour after its electro-pop classics went viral on TikTok. 

In honor of Women’s History Month, here are 10 female artists to watch out for in Latin America and Spain who are leading a new Latin pop revolution.

Belinda

The most veteran artist on this list is Spanish-Mexican star Belinda. After making her mark on Latin America with children's telenovelas and in the U.S. in The Cheetah Girls 2 movie, she reshaped the pop-punk sound of the 2000s with her breakthrough album Utopía. At the 2007 Latin GRAMMY Awards, she was the only teen nominated for Song of the Year, for the angst-driven "Bella Traición."

Following a hiatus to work on other projects, she's primed to reclaim her place in Latin pop after signing with Warner Music last year. Belinda blends Mexican corridos tumbados with a twinkle of Latin pop in the fiery single, "Cactus." Like Shakira, she used her song as a therapeutic way to roast an ex (in this case Christian Nodal). Her recent studio sessions with corridos tumbados pioneer Natanael Cano and Peso Pluma's co-writer Tito Doble P hint at further exploration of her pop spin on música Mexicana she's dubbed "corridos coquette."

Danna Paola

Danna Paola is another veteran making her mark in Latin pop. She first secured her star status in Mexico and Latin America appearing in children's telenovelas and through her teenage music career. After starring in the Netflix series Elite from 2018 through 2020, she gained global notoriety. In 2021, she garnered her first Latin GRAMMY Award nomination for Best Pop Vocal Album for her sixth studio album, K.O.

After scoring a few reggaeton-infused hits, Paola broke onto the Latin pop scene in 2022, with the euphoric pop song "XT4S1S." She continued to explore genres with a nod to house music in the kiss-off anthem "1Trago" and synth-pop in the introspective "Tenemos Que Hablar." In the music video for the latter, Paola revealed there was a point in her career where her image and sound were controlled by a past management team. Now that she has reclaimed her career, she has co-produced most of her recent tracks. There's a darkness in the haunting "Aún Te Quiero" as Paola lets go of the past. Her progressive Latin pop album is due out later this year. 

Daymé Arocena

Daymé Arocena emerged as a Latin jazz star in 2014 as part of the Cuban-Canadian collective Maqueque. Her work with the jazz troupe garnered her a GRAMMY nomination for Best Latin Jazz Album in 2018 for her work on Jane Bunnett and Maqueque's Oddara collaboration. 

After growing up in Cuba, Arocena moved to Canada and more recently Puerto Rico. There she worked with Eduardo Cabra, most known for his work in progressive urbano group Calle 13, on her new LP, Al-Kemi, which was released on Feb. 23. 

With her latest work, Arocena is proving she's an all-around Latin pop star. She blends the sounds of the Caribbean with stateside influences of jazz, R&B, blues, and disco. Showing there's no limits to the sounds of Latin pop, the reggaeton-fused R&B of "Suave y Pegao" with Puerto Rican artist Rafa Pabön and the funky "American Boy" also highlight how Arocena's soulful voice can't be bound to one genre. 

Kenia Os

Following in the footsteps of Belinda and Danna Paola is Mexican artist Kenia Os. Like many Gen-Z artists, the 24-year-old singer first started out as an influencer on platforms like YouTube, Instagram, and TikTok, where she has amassed millions of followers. Os parlayed her massive social media audiences into a successful music career.

With her debut album Cambios De Luna in 2022, Os mixed elements of Latin trap and reggaeton into pop songs. After going full Latin pop on her follow-up LP K23, she went global. Os explored nineties house music in the alluring "Flores" and synth-pop in the flirty "Malas Decisiones." The latter became one of the biggest Latin pop hits of 2023 after it went viral on TikTok. The visual project for the K23 album later earned Os her first Latin GRAMMY Award nomination for Best Long Form Music Video. 

As she prepares her third album, Os continues to push the genre to new places, dabbling in drum and bass in her latest single "Bobo" featuring Álvaro Díaz. 

Sofia Reyes

Throughout her career, Sofia Reyes has seamlessly weaved together Latin genres with elements of pop. In 2017, the Mexican star was nominated for Best New Artist at the Latin GRAMMY Awards. A year later, Reyes scored her first global hit with the cumbia-infused reggaeton of "1, 2, 3." Reflecting her boundless Latin pop sound, the song featured Jason Derulo and Puerto Rican singer De La Ghetto. 

Last November, Reyes released Milamores, the most adventurous album of her career yet. She became one of the first mainstream Latin acts to explore hyperpop in the frenetic "tqum" featuring Danna Paola. One of hyperpop's top artists, GRAMMY winner Kim Petras, jumped on the remix with Reyes and Paola. To create a therapeutic pop experience, she incorporated the healing frequencies of sound bowls in a few of the songs. That feel-good energy came through in the tropical "Rosas" and reggae-infused "Gaia" featuring Dēlian. A celestial standout on the album was "Luna" where Reyes sang about wanting to take a trip with her lover to the moon. Reyes' unique vision of Latin pop is out of this world. 

Aitana

Aitana is one of Spain's biggest Latin pop stars who has had success translating the sound of Y2K pop into her own fun and fierce version. The Barcelona-based singer became a household name in her home country after finishing as a runner-up on the reality show singing competition Operación Triunfo in 2017. Though she didn't win, Aitana achieved international recognition. A year later, she leveraged that exposure into her breakthrough hit "Teléfono," which was certified platinum in the U.S. and resulted in a nomination for Best New Artist at the 2019 Latin GRAMMY Awards.

For her third album Alpha, which was released in September 2023, Aitana was fully inspired by music from the nineties and 2000s. The feel-good "Las Babys" recalled the Eurodance of the Vengaboys and she embraced pulsating electro-pop in "Los Ángeles." The dreamy "Formentera" featuring Nicki Nicole sounds like something that could've come from The Cardigans. Aitana also teamed up with Danna Paola for the techno fantasy "AQYNE," reminiscent of the songs from Dance Dance Revolution. 

Emilia

Emilia is leading the Latin pop scene in Argentina. Thanks to the Y2K aesthetic on her latest album .MP3, the Argentine star is going global. Because of her refreshing spin on Latin pop, she was listed as one of GRAMMY.com's 25 Artists To Watch In 2024.

Emilia first broke through the Argentina music scene with her debut album Tú Crees En Mí? in 2022. That LP was loaded with trap and reggaeton-infused bangers like "Cuatro Viente" and "Intoxicao" featuring Nicki Nicole. 

On her follow-up .MP3, she leaned fully into the Latin pop genre. Living up to the LP's retro name, Emilia embraced music from the nineties and 2000s with tracks like the Kylie Minogue-inspired "GTA.mp3." On "La_Original.mp3." she introduced pulsating house beats, teaming up with fellow Argentine pop star Tini to sing in Spanish about having a "legendary flow" like "Madonna in the nineties." Emilia has since sold-out dates in Argentina, Uruguay, and Spain for her upcoming .MP3 Tour. 

GALE

Before becoming a rising Latin pop star and receiving a Latin GRAMMY nomination for Best New Artist last year, GALE was co-writing hits for other artists. The Puerto Rican singer helped pen songs for Selena Gomez, Christina Aguilera, Anitta, Cardi B, and Shakira. After letting Shakira know that she wanted to become an artist of her own, the Colombian pop icon encouraged GALE to go for it.

For her debut album, Lo Que No Te Dije, which was released in May 2023, GALE seamlessly blended the music of her island with nods to the pop music she grew up with from Britney Spears, Aguilera, and Avril Lavigne. 

GALE channels the angst of Lavigne into the pop-punk of "Inmadura" and the explosive "Problemas." She pushes back against receiving unsolicited explicit photos from men in the defiant "D Pic." Against the dreamy synth-pop of "Nubes," she sings about the joys of female self-pleasure. Her breakup anthem, "Nuestra Canción," features house music colliding with reggaeton. Recently, GALE paid homage to Shakira by covering her classic "Inevitable." 

Mariangela

Another artist bringing an alternative edge to Latin pop is Mariangela. She was born in Monterrey, Mexico and later grew up in San Antonio, Texas. Mariangela's bicultural upbringing is reflected in her music, which blends Latin American genres with elements of pop and alternative music. As a singer/songwriter, she is inspired by artists like Paramore's Hayley Williams, Taylor Swift, Olivia Rodrigo, and Lana Del Rey. 

In 2022, Mariangela pulled inspiration from Depeche Mode’s "Never Let Me Down Again" for her song "Soñarte," which mourned the passing of a friend. The following December, she released her first EP 4+1, in which she explored other genres with her alternative grit. The EP included an entrancing and rock-infused take of the classic "Cama y Mesa" by Roberto Carlos. 

On Feb. 1, Mariangela dropped her debut album Sensible, which included a few of her past singles with newly-recorded songs. In her kiss-off anthem "Acto Final," she goes pop-punk as she bids an ex farewell from her life for good. Mariangela's electrifying spirit is reviving Latin pop like a shock from a defibrillator. 

Nohemy

Nohemy is reshaping music from Puerto Rico with a pop perspective. The rising Puerto Rican star gained attention in 2020 starring in the Natti Natasha-produced series "Bravas." Post-show, Nohemy continued forward with her music career, working with German producer The CRVV. 

On her debut album NOHAUS, released in March 2023, Nohemy's sound blends the pop that she grew up on, Caribbean rhythms, and European influences from The CRVV. Nohemy wrote the songs and co-produced the LP, collaborating closely with The CRVV to blend house, elements of trap, reggaeton, and pop in the fierce club banger "Loca" and the heart-wrenching "Perdón." 

Nohemy received a co-sign from one of her compatriots, Robi, who was featured on a remix of her dreamy love song "Te Vas." She continues to evolve, releasing singles including the atmospheric "¿Y Ahora Que?" and reggaeton-infused romp "On Top." 

How The Latin GRAMMYS Brought Latin Music Excellence To The 2024 GRAMMYs

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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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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