The New York-based artist raised traveling the globe is showing her worldly musical inspirations through 3:33 am, greatly inspired by her mother's death, and 2018's Conexo EP. Her sound is a fresh mix of soul, bossa nova and R&B that she prodcues herself and the world needs to listen.
When she's not creating her own stuff, she's collaborating with creatives like GRAMMY-winning songwriter, musician and producer Andrew Wyatt, who won a golden gramophone at the 2019 GRAMMY Awards for Lady Gaga and Bradely Cooper's "Shallow."
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This isn't my first time being here, but it's my first time performing, so it's been a whole new world for me. It's really exciting. We just finished performing and I'm still like high from it, from the adrenaline and stuff like that. It's been pretty amazing. We performed on the main stage and it was my first time having like back up dancers and stuff like that. We kind of did it big this time around and I really enjoyed it. I had a really good time. The audience really loved it and now I just got golf-carted here by Redman, so I'm having a really good time.
"Mixer" is everywhere now and you just released a visual for the acoustic version. Tell us about that song. What does it mean to you and why was it important for you to give it so much love?
It's one of my favorite kind of dancey songs that I've put out ... I'd always put a lot of meaningful songs out and stuff like that and I really kind of just wanted to have fun, kind of like a jam ,vibe song out as a single. Andrew Wyatt approached me with it and said that he thought this song was perfect for me and that he kind of wrote it after he had seen me perform. And that inspired the whole lyrics behind it and stuff like that. I heard it immediately and was like yes, I'm so down, let's do it. And then one thing lead to another you know?
I was actually working on a visual for a new song that's coming out called, "What If." It's going to be out next week, it's really exciting. It's like my baby. I love that song. I've been working on it for two years now. So I'm glad it's finally out ... Or will be out. We were working on the visual for that, and I've just been rehearsing like non stop for this show. I've never like done choreographed dance before. So it was a lot of that. It just was a lot of me dancing and rehearsing with the band and visual shooting and all of that stuff.
I think the performances have been like a huge change for me and just how I go about putting out music, I think understanding the flow of that more and my knowledge of production and stuff like that. I think I'm still pretty slow when it comes to that because I really like to take my time with lyrics and stuff like that. But, as far as just not being as nervous of being in the studio and not being as nervous about putting music out and what people will think about it, and all that stuff, really just kind of going from inside and what feels good to me, .I think I've really learned a lot from.
That's a good question... I think soul to me personally is more just expressing what is inside of you, what you're really feeling strongly. A lot of the time for me, personally, I've always had a hard time expressing myself because I wasn't really sure that what I was feeling was the right feeling, or I wasn't really sure what I was feeling at all. That's why I kind of turned to music. I think it's just really gaining understanding of what you feel inside and really just believing in that and being passionate about that, no matter what it is. It could be being a janitor, it doesn't matter. As long as you put soul into it.
I think you should really follow your heart. I think that's really important because I think that's what people will really direct towards, is you being yourself. I think just put your music out there, don't feel like you need to go to a label and stuff like that. I just put my stuff out there after waiting years and years and realized that I don't need to rely on people. And that's when people started coming to me. So, I think that's the most important part, and just always believe in everything that you do.
Redman is driving a golf cart, so if you're here, you probably won't know this because I don't know when this is coming out. But he's driving a golf cart here, and it's pretty insane. And I'm freaking out!
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."
He also extended his love and gratitude to his fiance, 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.
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."
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.
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.
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.
L'Impratrice (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.
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.
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."
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. 152ee80cbc
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