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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.
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"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."
In recent years, a wave of dance stars have embraced their inner mosher by collaborating with their favorite metal, post-hardcore, emo, and pop-punk artists, creating a mutant sound with a foot in both spaces. Just this month, Canada's dark bass maestro Rezz released a winkingly titled EP, It's Not A Phase, which channels the punk and metal she loved as a teen. (On release day, she posted an old photo in front of a My Chemical Romance poster, with the caption, "this one's for everyone who had an emo phase.")
Of course, this mixing of worlds is not just a recent phenomenon. For decades, dance artists have remixed, borrowed from, and occasionally collaborated with their rock counterparts. From the punkish ferocity of the Prodigy's 1997 album The Fat of the Land to Justice's Slipknot-sampling "Genesis" ten years later, the examples are endless.
In the decade since the EDM boom minted a new generation of superstars, crossover collaborations have increasingly positioned the dance artist in the lead. In honor of this phenomenon, we're head-banging our way through eight of the best.
While fans had already heard an instrumental version of the track in deadmau5's live shows, Way's vampy vocals brought the rock swagger, even as the production remained resolutely electronic. To celebrate the release, the collaborators appeared as gamers piloting a UFC battle between two giant mau5-headed robots in what Zimmerman told SPIN was "one of the highest-budget electronic music videos of all time." And yes, it's as extra as it sounds.
Steve Aoki is one of dance music's most voracious collaborators, teaming up with everyone from will.i.am to Louis Tomlinson to Backstreet Boys. He's also a punk rocker from way back, having jumped between hardcore bands as a singer and guitarist in his pre-fame life.
These passions have intersected throughout Aoki's DJ/producer career in his collaborations with Linkin Park and blink-182, as well as Rifoki, the straight-up hardcore band he formed with Sir Bob Cornelius Rifo of the Bloody Beetroots.
In 2014, Aoki joined forces with pop-punk favorites Fall Out Boy on "Back To Earth," which featured on his collab-stacked album, Neon Future I. In an interview with Billboard, Aoki explained that the band worked on their live instrumentation in a separate studio before he added the dance elements, and the result was "one of my favorite rock collaborations."
Like his friend and collaborator Steve Aoki, the Bloody Beetroots' masked leader Sir Bob Cornelius Rifo is a punk at heart. That raucous spirit was present on the breakout Aoki/Beetroots team-up, "Warp 1.9" (2009), then turned up to 11 in their aforementioned hardcore band, Rifoki.
In 2017, after a few years away from the limelight, Sir Rifo delivered the third Bloody Beetroots album, The Great Electronic Swindle, featuring guests like Jane's Addiction frontman Perry Farrell, GRAMMY-nominated singer-songwriter Greta Svabo Bech, and Australian rock band Jet.
On "Crash," the Italian producer hooked up with post-hardcore singer Jason Butler, of Letlive and Fever 333, to make a heavy, distorted and shouty head-banger that honors both of their styles. In true punk fashion, it's over and out in just over two minutes.
Few DJ-producers relish the opportunity to slam together dance music and rock quite like Houston-born Kayzo. For his 2019 album, Unleashed, the rising star secured some of his favorite metal, hardcore and pop-punk acts as guests, including Of Mice & Men, Boys of Fall, Blessthefall, and Alex Gaskarth of All Time Low.
Perma-helmeted producer Marshmello has enjoyed a whirlwind decade, with a famously prolific output that includes several dance and pop hits. In 2019, he surprised fans by announcing a team-up with Florida four-piece A Day To Remember, whose metalcore meets pop-punk sound is a far cry from Marshmello's usual vibe.
Their collaboration, "Rescue Me," finds an easy middle ground between crunching rock guitars, frontman Jeremy McKinnon's impassioned vocals, and Marshmello's skittering trap-pop beats. In an interview with Kerrang! Radio, McKinnon recalled his surprise at how quickly Marshmello shared the chorus on socials, adding that he wishes rock artists could be as spontaneous.
Hot on the heels of his first GRAMMY nomination in 2022, Denver-based phenom Illenium got back in the studio to make another album straight from the heart. The producer's self-titled fifth LP took inspiration from his teenage years listening to the likes of blink-182 and Linkin Park, while staying true to his own bass-heavy aesthetic.
Fellow bass lovers Excision and Wooli are frequently paired, whether they're going back-to-back as DJs or co-producing EPs like 2019's Evolution and 2023's Titans. This time around, the collaborators decided to try something outside their comfort zone, calling up Ohioan metalcore band The Devil Wears Prada to bring their distinctive grit to "Reasons."
In contrast to more pop-leaning entries on this list, "Reasons" is unapologetically heavy from the halfway mark, morphing back-and-forth from metalcore theatrics to hard-hitting wubs. In a statement, The Devil Wears Prada described this team-up as "uncharted territory" for the band, and their gamble paid off.
In a statement accompanying her new EP, It's Not A Phase, Rezz notes that she "grew up listening to bands exclusively, and over time developed an understanding of what it was about those songs that I loved."
That innate grasp of rock dynamics is on full display throughout Rezz's most vocal-driven release to date, with guest turns from the likes of Alice Glass, Johnny Goth, and Raven Gray. On "Dreamstate," Rezz embraces her inner emo kid with the help of Canadian post-hardcore band Silverstein and metal guitar prodigy Tim Henson, undergirding her guests' contributions with dark, stabbing bass.
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.
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