Over the course of May, known as AAPI Month, the Recording Academy and its affiliates have led the charge in dismantling barriers for people of Asian American and Pacific Islander heritage in the music industry.

A primary component of that is providing a platform for members of that community to discuss their experiences — from their successes to their challenges to even the validity of the AAPI acronym itself.

To close out AAPI Month, RecordingAcademy.com initiated an incisive roundtable discussion with music producer and marketing head Lawrence Lui, three-time GRAMMY-winning singer/songwriter Kalani Pe'a and GRAMMY-nominated singer/songwriter Kimié Miner.

"Historically, AAPI artists have faced limited representation in mainstream music. Stereotypes and biases have often confined them to specific genres or reduced their visibility in the industry," Miner says. "We should embrace and celebrate the range of musical styles and genres that AAPI artists explore, helping to dispel assumptions and broaden opportunities for artistic expression."

Take their expressions throughout the rest of the calendar year and beyond, and consider your role in elevating and honoring those of an AAPI background in the music industry — and all arenas of life.

How did you enter the music industry, and what have you noticed about AAPI representation within?

Lawrence Lui: I started in the music industry as the music director of the radio station WNYU, which I parlayed into a job in radio promotions at a bunch of record labels.

I subsequently held marketing positions at Astralwerks Records and Island Records, before starting my own marketing agency, Bampire Music, where we represent some of the biggest names in the dance/electronic genre. 

While I'm often the only AAPI person in the room, it's honestly never really been an issue and I don't think about it in relation to my career.

Kalani Pe'a: Music is my first love. My mother Pua Pe'a and my father Arthur Kalani Pe'a inspired, aspired and encouraged me to sing at such a young age. 

I can remember being 4 years old running away from my parents from JCPenney in the old Kaiko'o Mall in Hilo. My mom panicked and asked security where I went to. They all found me serenading a mannequin. My parents knew music was my passion. 

I had a speech impediment at age 2. My mom knew that music would save my life and it did. Music definitely stopped my speech problem over the years. I grew up in a musical family. My paternal grandparents were into choral music and classical music. My uncles and aunties of the Pe'a family all played the guitar, ukulele, piano and sang in choir. My father plays the electric bass. But, I am the first in my family to record an actual album and take music full time as an independent singer/songwriter and music producer. 

AAPI [Month] is truly a pivotal time for us to embrace each and everyone of us, but more so the kupuna (ancestors and forefathers) of Polynesia and Asia who has given us the 'ike (knowledge and wisdom) to continue their legacies so we thrive as people — first people and the first nations of the land we love.

It's beautiful to gain insight about the legacies and teachings of all cultures and come as one. Music truly brings us together.

Kimié Miner: Although I began singing and songwriting at an early age, I was very shy and never pursued my passion as a career until I attended the University of San Diego.

I entered the industry at 18 years old, when I met reggae star Barrington Levy at his show in San Diego. I sang for him backstage and then he asked me to open for him on his West Coast tour. 

I chose my passion over my fear, performing my original songs on my nylon string guitar in front of sold out crowds. That gave me the confidence to continue sharing my original music on stage and on platforms like Myspace and YouTube.

When I started producing my own music on GarageBand in 2004 and sharing it on Myspace, I couldn't find a genre to describe my music, which I dubbed as acoustic soul island reggae. 

I didnʻt see other Polynesian women like me in the global reggae music scene at that time. Part of the problem was that even if they existed, they werenʻt being marketed to me the way mainstream artists were. 

At home in Hawaiʻi, we had island reggae and Hawaiian female singers like Ilona Irvine, Robi Kahakalau, and Theresa Bright, to name a few, but Polynesian representation outside of Hawaiʻi in my genre was still hard to find. I believe that was because there wasn't a big marketplace for AAPI artists at that time.

The biggest Polynesian artists that I recall during this time were mostly male-dominated, like Israel Kamakawiwo'ole, Fiji, Brother Noland, Ka'au Crater Boys, Ekolu, and Katchafire from New Zealand. 

Iam Tongi's recent win on "American Idol" really showed us how AAPI artists are equally competitive in the music industry while still representing our culture and island music. He represents all these AAPI artists who came before him and paved the way for him to confidently stand on that stage and connect with the world.

How has the music industry stepped up to elevate AAPI communities and represent them within their ranks? What steps must the music industry implement next to push this progress forward?

Miner: It's been a slow progression, but I believe fans and music lovers are the real ones helping to shape the music industry today.

They have helped to push forward the underrepresented genres and artists whom they love via social media, sharing their favorite songs, artists and albums to help the industry expand their overall consumption of AAPI music.

Iam Tongi's win on "American Idol" shows exactly this! He has had an overwhelming reaction to his performances on the show garnering him countless votes. Iamʻs fans connect to his authenticity and relatability. 

In fact, most of his song choices were directly connected to Hawaiʻi, like "Stuck on You" by Lionel Richie — which was originally covered in the same style by Hawaiian group Ekolu in 1999. Also, his cover in the finale of Kolohe Kaiʻs "Cool Down" reached No. 1 on the [Apple Music singles chart] immediately following the airing of that episode on TV.

The music industry is changing with technology and the ways we consume music. So helping to amplify AAPI voices across all platforms is one way to help further our progress. Industry leaders, including record labels, media outlets, and streaming platforms, can actively promote AAPI artists and their work. This can be done through dedicated playlists, curated features, and collaborations with established artists to provide greater visibility and exposure.

The industry should actively work to increase representation of AAPI artists across genres, stages, and platforms. This includes signing more AAPI artists to record labels, featuring them in mainstream media, and including their voices in decision-making processes. 

The industry and the Recording Academy can further our progress by encouraging diversity in music, breaking stereotypes and challenging preconceived notions about AAPI artists. We should embrace and celebrate the range of musical styles and genres that AAPI artists explore, helping to dispel assumptions and broaden opportunities for artistic expression.

Lastly, the music industry should collaborate with AAPI communities and support AAPI advocacy groups. Music Industry leaders and organizations can engage with AAPI communities and organizations to build meaningful partnerships that support AAPI artists. This can involve collaborating on community events, outreach programs, and cultural exchanges to create a mutually beneficial relationship.

By implementing these steps, the music industry can continue to push progress forward, fostering a more inclusive, diverse, and equitable environment for AAPI artists to thrive.

Pe'a: It is evident that through this pandemic, everyone had to adapt to change. We all had to pivot and understand "change effectiveness." This pandemic taught each and everyone of us to adapt to change and be effective through change. This pandemic didn't stop us, the AAPI community, [from] composing music for the world to heal during these tough times. 

I am a proud Native Hawaiian/Filipino, Hawaiian contemporary and soul singer/songwriter and music producer. I am a gay, married man who is happily married to my husband of 15 years. 

Allan Cool and I own my music, publishing company and label. I call the "shots" as the owner of my music and no bigger labels own it. We are Hawaiian/Filipino entrepreneurs and it's our duty to encourage and aspire upcoming artists who want to become members of the Recording Academy and live their dreams as independent musicians. 

As a Hawaiian language practitioner of over 30 years, it is my kuleana (duty and responsibility) to carry this torch of my Hawaiian/Filipino ancestors. Hawai'i is a melting pot. 

We don't focus on racism. I wasn't raised with issues of racism. Yes, I did experience the definitions of colonization, oppression, diaspora, cultural appropriation, etc. But, how we do continue to prevail as people? We educate them. We continue to educate all communities about our cultural identity and heritage through our message in music. 

Representation is key, but education is imperative. As a three-time GRAMMY-winning singer/songwriter and music producer, my long-term and short-term goal is to inspire our youth to be authentic and seek their own destiny — whether they want to become Hawaiian language rappers, opera singers or anything else.

In addition, I inspire them to write and own their own music and never allow others to define their craft. We break stereotypes and misconceptions through education and being our own authentic selves. Our music is education and our way of educating is the key to success.

What challenges and/or successes have you faced as being a music-industry leader of AAPI descent?

Lui: A few years ago, I started hosting informal AAPI dinners for music industry professionals at Soho House, with no set agenda — just for folks to meet and network in a relaxed setting. I wanted to do something to re-establish face-to-face connections after the pandemic forced many of us into semi-isolation.

I'm a firm believer that if you speak to a person for just 10 minutes, even if it's just chit chat, you can find deeper commonalities that you never knew you had; and that's what builds lasting relationships. So, I just wanted to foster the environment to have these casual no-pressure conversations. 

Later on, I partnered with the advocacy not-for-profit Asian American Collective to have some larger events in that context. I'm very happy how it turned out.

I feel as members of the AAPI community, many of us are siloed with our noses to our respective grindstones in various pockets of the industry, and we could benefit from simply knowing each other and giving each other a hand, or a bit of advice. 

Great AAPI musicians and executives are scattered across all strata of the industry, and it takes some effort to get us together for a common cause — especially on the East Coast where we are slightly less populous and visible, compared to the West Coast, where Asian culture seems more ubiquitous. We also come from many different cultural backgrounds which can also be a challenge in unifying us.

I also enjoy participating in mentorship programs for both the Recording Academy and the Asian American Collective. I find this very fulfilling and it's the least that I can do to help the next generation get a leg up. 

I'm also working with other AAPI members within the New York Chapter of the Recording Academy to increase advocacy efforts and grow awareness of the Academy among the larger AAPI music community. I'm actively working to recruit more AAPI music industry folks to apply for membership to the Recording Academy. There's so much more to the Recording Academy than just an awards show, so there's a lot of educating that needs to be done. 

Pe'a: No challenges, just success. 

I am authentic through my music and songwriting. I am authentic through my shows when I tour and sell out shows across Hawai'i, the West and East Coasts and Japan. I am so proud being a Hawaiian/Filipino singer/songwriter and music producer living my dreams. So I am grateful [for] being a vessel and representative of the Hawaiian and Filipino cultures.

The beauty of music is bringing us together. I did a recent sold-out concert on my island home, my birth home the Big Island of Hawai'i. During a meet and greet, I met this eldery Filipino lady. She is a fan of my music. She asked me, "Are you only Hawaiian?" I said, "I am Filipino, like you." She goes, "OMG. You are one of us." She was so happy, but proud. 

To me, pride takes it to a new level. I represent all who love the Hawaiian language, culture, music and arts. I am here to see all ethnic backgrounds and nationalities across the globe singing Hawaiian music and dancing hula and doing it right without cultural appropriation. 

My music is put into hula, and I see people dancing to my music all over the world from Japan, Europe, Korea, Tahiti, Mexico, the USA and more. My Hawaiian language and culture is thriving and we will always be here. 

The beauty of speaking my Native tongue fluently is that I can sing a Motown or classical song in English and Hawaiian. I can sing in front of a sold-out crowd in Tokyo, in front of Hawaiian music and Hula lovers, in Hawaiian/English and Japanese because I can and it's appropriate.

My ancestors handed me the torch and when I get this butterfly feeling and this urge to do what I need to do in this industry, I know it's the whispers of my ancestors guiding me along the way.

Miner: As a Native Hawaiian artist, I have experienced many identity challenges early in my career around cultural expectations. 

Where do I "fit in" in this industry? What is my genre? Is my music Hawaiian enough? Is my music mainstream enough? Will my community approve of my art? When I started out this created a lot of pressure to conform and discouraged my early artistic pursuits.

What I have learned over time is that because I am Hawaiian, the music coming out of me is Hawaiian. I can only represent who I am in this industry, and that is enough.

I believe one of my greatest challenges which has also had the biggest impact on my success has been the unique location and isolation of our island home here in Hawaiʻi. We are physically separated from the mainstream marketplace, but it also provides me with an opportunity.

I embrace my cultural heritage and this island life to create music that reflects my identity offering a unique perspective and experience. My music resonates with audiences who seek diverse voices, and also with those who have an appreciation for our island home here in Hawaiʻi.

Iʻve had to overcome many stereotypes and prejudice within the industry. I learned from these and chose to share them with other AAPI artists in my community in order to help them in their success. 

I believe when we open a door we should leave it open for those behind us. Collaboration has been one of the key elements to my success thus far as an artist and a leader. It is a cultural value ingrained in me because I know we are so much better together.

The term "AAPI" obviously covers such an immense swath of people. Does the term work for you? If not, how would you reframe or rename such a concept?

Lui: It's not something that concerns me too much. Language is always evolving with the times as cultural mores shift and change. We were once called "orientals," then Asian Americans, now AAPI. Language and labels matter in changing perception, but what matters more is the direct action that we can take as a result of these shifts in perception.

Pe'a: AAPI is fine with me. I celebrate Pride Month since my husband Allan Cool (who is Hawaiian/Samoan/Filipino) and I are part of the LGBTQ community. I celebrate Martin Luther King Jr Day. I celebrate Christmas. I don't celebrate hate and bigotry. I celebrate love and compassion. 

So, seeing our faces in movies, TV, billboards and on the GRAMMY stage is phenomenal, or copasetic. I am so honored to be Hawaiian/Filipino and being able to be raised and nurtured in a loving home/household in the middle of the Pacific — the heart of the world we call Hawai'i.

I am honored and privileged to come from the working class — no riches — but a home enriched with values, traditions, unbiased ways, balanced, approachable and loving. 

The Aloha lingers everywhere in Hawai'i, and if you don't exude this essence of aloha, then Hawai'i is not your place. I break stereotypes and misconceptions through my music. So, AAPI is appropriate and I will never seek any changes to that term.

Miner: The term works as a broad overview, but even within this group there are so many subcultures. 

I'd like to see more representation for our Pacific islander communities in the music industry as well as the Recording Academy. For instance having a subcategory in roots music that represents the music from our Pacific Islander communities.

As an artist who submits my music for the GRAMMYs, my options are very limited. In many cases, I have had to submit in the oversaturated Pop Category because I simply did not qualify in other existing categories. These existing categories include regional roots in which I'd have to include 51 percent of our Hawaiian language in my album or reggae, both of which I do not qualify.

Who are some AAPI-identifying artists that we should all be listening to now?

Lui: I'm a big fan of the male/female pop duo Sundial. Their song "your text" had a bit of a viral moment a few years ago, but it's their song "dear parents" that's the showstopper: it's truly one of the most heartbreakingly beautiful and intimate tracks I've ever heard. 

I also dig New York City-based singer/songwriter John Tsung, who sings in both English and Chinese and reminds me of the epic indie pop of acts like Flaming Lips and Neutral Milk Hotel — stuff I used to listen to as a college radio DJ in the '90s. Very underrated!

Also worth mentioning is the producer and vocalist SOHMI, who melds melodic techno with a great pop sensibility.

Pe'a:  Please listen and support Iam Tongi who made it to the top 3 at this year's "American Idol." He is of Tongan ancestry from Hawai'i. 

Listen to Kimié Miner who is Hawaiian/Portuguese, Paula Fuga who is Hawaiian/Samoan/Chinese and Filipino, Wehilei, Natalie Ai Kamau'u, Chardonnay Music, Amy Hanaiali'i, Napua Greig, Willie K, Kamaka Kukona, Lim Family, Ho'okena, Fiji Music, Kalenaku and Kala'e Parish, Hoaka, etc.

Miner: Additional artists who I believe are shaping what Hawai'i sounds like today by utilizing a vast variety of genres from country, reggae, Hawaiian, folk, surf rock and pop to blend with our culture, language, and island inspirations are Maoli, Kalani Pe'a (a three-time GRAMMY winner), Anuhea, The Green, Paula Fuga, Likkle Jordee, Fia, Jack Johnson, Izik, Taimane Gardner, Hawane, Josh Tatofi, Ka'ikena Scanlan and Ku'ulei Music.

What creative and/or professional developments are you looking forward to in AAPI spaces in the music industry?

Lui: All in all, I'm very optimistic and feel that things are generally moving in the right direction for AAPI advocacy in the music industry. Every year, more Asian faces are elevated in the scene, especially now with the success of K-pop and labels like 88rising, not to mention our increasing presence in film and literature. 

It's an exciting time to be alive. We need to continue to build bridges and partner with our allies everywhere.

Pe'a: More online workshops for AAPI music makers and creators and for new artists. Workshops for business and music, business and marketing/promotions, music and digital marketing, independent musicians and producing/engineering. 

We need more AAPI grants available for artists and entrepreneurs, whether it's cultural or competitive grants — not loans. Many of us AAPI artists don't have huge labels to support us. We are the labels, so more federal funding would be ideal to ensure the success of all AAPI individuals.

These grants will have learning outcomes and objectives so that their projects are met with measurable outcomes. I yearn for the success of others. I yearn to see new talent illustrating and identifying the beauty of all gifts of music.

Miner: I'm looking forward to AAPI artists exploring a wide range of musical styles and genres, breaking away from stereotypes and pushing creative boundaries.

I'm also looking forward to more AAPI artists achieving mainstream success and recognition, topping charts, winning major awards, and headlining major festivals. This would contribute to breaking down barriers and expanding opportunities for AAPI artists to reach broader audiences.

Iʻm already seeing increased collaboration and intersectionality between AAPI artists and artists from different backgrounds which excites me! Just as I have had to step into leadership roles in the music industry in Hawaiʻi, I'm looking forward to greater representation of AAPI professionals in executive positions within record labels, music management, booking agencies, and other key industry roles

This would ensure that AAPI perspectives and interests are considered in decision-making processes. I am also seeing more AAPI individuals working behind the scenes in music production, sound engineering, songwriting, and other technical roles. This expands opportunities for AAPI professionals to contribute their skills and creativity to the industry.

I envision even more AAPI music festivals and platforms which empower AAPI narratives and reach! AAPI artists are telling their own stories authentically and reclaiming their narratives through music. This includes addressing social, cultural, and political issues that affect AAPI communities and using music as a means of activism, empowerment, and healing.

The Recording Academy and the music industry can acknowledge and celebrate the significant contributions that AAPI artists and professionals have made to music and culture. This recognition would help dispel stereotypes, challenge biases, and elevate AAPI voices and talents.

These are just some of the creative and professional developments that many people are looking forward to seeing more of in AAPI spaces within the music industry. Each development contributes to a more inclusive, diverse, and vibrant musical landscape.

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Two-time GRAMMY-winning singer/songwriter and producer Kalani Pe'a radiates warmth and joy in all he does, and his deep connection with his Hawaiian roots makes conversing with him feel like attending an inspirational talk, poetry reading and history lesson all in one. This inviting energy and depth are ever-present in his music and its effortless blend of traditional Hawaiian folk music, classic R&B and soul—not to mention heavy sprinkle of Kalani charm.

As an independent artist (and co-owner of Pe'a Records & Entertainment with his husband and manager, Allan B. Cool.), Pe'a encourages artists to own their masters, promote their work, be authentic to themselves regardless of what others think, and follow their dreams. And he sure is walking his talk. His first two albums, 2016's E Walea and 2018's No 'Ane'i, both earned him a GRAMMY for the Best Regional Roots Music Album, making him the first Hawaiian artist to win in the category.

GRAMMY.com caught up with the vibrant artist, who called in from his Maui home to discuss his new album, Kau Ka Pe'a, his deep Hawaiian roots, advice as an independent artist and much more.

Related: GRAMMY-Winning Singer/Songwriter And Producer Kalani Pe'a: Creating Music With Your Authenticity And Finding Your Voice

How are you?

The word thrive comes to mind for me, like when I'm writing music at the beach here in Maui, when there's this particular cold breeze we call makani lave malie. This calm, cool breeze that embraces me and gives me a little chicken skin. When you get this feeling inside to write about something you love, while the sand and the rocks embrace your body, and the ocean swells, and the mountain is clear, and the sun rays warm your skin, you write about it like poetry.

I love writing music about people and places I love here in Hawaii. I love your [hair] color, by the way. As you know, purple's my favorite color.

Yes, I noticed when I was scrolling through your Instagram. I remember the sparkly purple blazer you wore at the GRAMMYs, that was good.

I'm a little loud. I'm a big boy who is loud and proud. I will wear my sparkly stuff, but yet stick to my roots, and this is who I am. I would never change my authenticity.

You feel that authenticity when you talk to someone, when you see someone, when you hear someone's music. It inspires others. None of us are one thing, we all contain multitudes, and it's so beautiful to see people living out those multitudes so seamlessly.

I've learned so much as a singer/songwriter, and as an independent artist who co-owns a label and publishing and entertainment companies with my husband. We do it all our own. I'm very proud to be a two-time GRAMMY winner that owns my music. And I think musicians should be at the forefront of encouraging other artists to own [their] own masters and take pride in [their] work. However, learning to collaborate and build bridges along the way is important too.

We had a songwriter summit here in Hawaii with dear friends of mine in the industry. We talked about what we call piko, our umbilical cords. We believe in three different piko. Our first piko is the head. And it's so sacred in Hawaiian. Whether you're a musician, an engineer or a producer, we're always reflecting on our ancestors and forefathers and the gifts and wisdom they've bestowed upon us. The second is the womb. That's where our mothers carry the children, that's where the water in that womb allows us to survive. Water is life, water is medicine, as much as music is medicine. The third piko is down there, our reproductive system, where life is made.

And so, when we are connecting ourselves, as musicians, with all of our piko, we are going through a self-care moment, self-reflection, self-evaluation, and we need that because, often, musicians, we're all over the place. We musicians have so much to offer to this world, that we often don't take time to take care of our piko. We need to take care of our health and wellbeing, so we can continue contributing to our fans. But how do we do that? We take our self-reflection time, go to the beach, write music, rejuvenate, cleanse our souls and bodies and swim in the ocean or the streams.

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Let's talk about your new album, Kau Ka Pe'a. What does the title mean?

Kau is to be placed or to hoist. Pe'a is my last name, which means the sailboat or the sail of the boat. The theme of the album is to hoist your sail, create your own sailboat and voyage; navigate the world. And I needed to create this new album with a new theme song to instill the value of where we come from, having a sense of place, self-reflection and identity. We all have to chart our own journey. As we pivot and adapt in this pandemic, we put up our own sail, and we must move forward. Holo Ka Wa'a, which means we got to chart our journey no matter whatever we see in life.

My paternal grandmother, who I love very much, would say, "Nani a maika'i," "It's all good and beautiful." You know when people say, "It's an ugly day today, it's raining." In a Hawaiian perspective, the rain is a sign of procreation, wealth and beauty. We have songs about that. But I remember her talking about, when I was in fifth grade, how there's gold at the end of every rainbow, that there's beauty in thunder and lightning, there's beauty in the rain.

When there are earthquakes and volcanic eruptions and tidal waves, our earth moves and shakes, and we have to move with the earth because we can't control the earth. And when we move with the earth, we shift with the earth, we grow with the earth, we grow with the sky, we grow with the rays of the sun. And as Hawaiians, we see beauty in that. And my grandmother taught me that, "Never say today's an ugly day. Always remember that there's beauty all around."

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It's such a good perspective to have because it's the same thing happening, but the way you're looking at it shifts your mood and the way you engage with the world.

Like this pandemic, there's beauty in this pandemic, despite the amount of loss and people that lost their lives from it. This pandemic would not stop us, music creators, from creating music for the people who need to hear it. Music is essential, music is medicine. So, I did my crying over the year when I headlined a concert at the Lincoln Center, my first sold-out concert in February 2020. And when it came to March 1, 2020, and when they had about a thousand COVID-19 cases, I told my band, "Before we get home, sanitize everything, make sure you wear your masks. We don't know what's going on." But the pandemic affected us right there.

March 1, 2020 is when we all realized we all had to make changes. I lost every show, every tour, every concert, but I always had to remain confident. My grandmother and my parents have always taught me, "Through change, you have to be effective, and you have to be effective through change."

And it's been hard for me as a musician because I'm so used to touring, I'm so used to having live shows, not virtual shows. Artists feed off of ego, we feed off of people. I'm like, "Are you clapping? Do you like my song? Do you like me? No, you don't like me?" [Laughs.]

But I know that we have to chart our journey, and I had to create this album featuring legendary and upcoming Hawaiian artists because I believe in collaboration. I believe that if I work with other people in the Hawaiian music industry, we can thrive together because the Hawaiian music industry is really tiny, so we need each other.

So, I wrote about places I love here in Hawaii on the album. I also did a classical song that's been done by Nat King Cole, "When I Fall In Love," but I sing it in Hawaiian, too. I asked one of our legendary vocalists here, six-time GRAMMY-nominated artist Amy Hānaiali'i to sing it with me. She's won 18 Nā Hōkū Hanohano awards, which is Hawaii's premier music awards. And she's one of my mentors and advisors. To me, she is my Whitney Houston of Hawaii.

People asked me, "Why are you interpreting songs like 'When I Fall In Love' and Joe Cocker's 'You Are So Beautiful' in Hawaiian?" And I'm like, "I'm a modern Hawaiian, and I can." I feel confident, as a Hawaiian language practitioner, to translate or interpret whatever classic music I grew up with, whether it's an R&B song, or a love song of the '90s or '80s because that's who I am. I'm innovative, and that's what people love to hear.

My fans love it when I do Karen Carpenter's version of "Superstar." [Starts singing] I do it all in Hawaiian. People make those personal connections, but I do it in a Hawaiian way because I'm Hawaiian, and I can. So, if you feel that you need to rap in Spanish and Hawaiian, do it. Just do it.

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Related: GRAMMY-Nominated Hawaiian Singer-Songwriter Kimié Miner On Finding Creativity And Connection During A Pandemic

What was it like working with Kimié Miner and Pandanus Club on the title track? And how does that song represent the journey of the album as a whole?

So, I started writing "Kau Ka Pe'a" and then I worked with my teacher, Larry Kimura, on the other verses. Larry Kimura is a Hawaiian language instructor and one of my mentors and advisors. He's very famous in Hawaii for writing Hawaiian music. He and I wrote this together, to acknowledge the people who shaped my Hawaiian identity.

In the first verse, I talk about my ancestors—little do people know, I'm Hawaiian, Filipino and English. My great-great-great-grandfather was a British commodore, and he came from England and met up with a beautiful Hawaiian girl, my great-great-grandmother—I talk about the arrival of my ancestors and how my ancestors met, and I give a little bit of genealogy and where I come from.

I wanted to highlight Pandanus Club, who are legends in Hawaii. And I was so touched that they said yes, that they were able to collaborate with me on this song. And the second verse, I talk about the seventh royalty, King David Kalākaua, was our last king of Hawaii, who brought back hula and Hawaiian music, which had been banned by Westerners. I thank him because he was all about innovation as well. He also gets on a boat himself and he did travel the world during his reign. He met with emperors and leaders all over the world, like presidents of the United States.

The third verse was working with my sista, Kimié Miner, my Hawaii island music queen, as well as Kalenaku, both of these women, I love and adore. They are educators, they're mothers. So, I wanted to have Kimié and Kalena sing the third verse about King Kamehameha Akahi. He was our first king, and united eight Hawaiian islands under one rule in 1810. And then the last paragraph talks about our kūpuna, my ancestors and forefathers, and how we always need to acknowledge those who have held that torch and had created our path for us to follow.

That's a big history lesson in there. That's awesome.

Yes ... People don't know so much about Hawaii. They feel like it's "you got to shake your hips, and let's go to Luau, and see some women shake their hips." That's not even Hawaiian, that's Tahitian. "Let's see fire knife dancing." That's not Hawaiian, that's Samoan. So as a Hawaiian language and culture practitioner and as a musician and music producer, I'm all about sharing the true authenticity of Hawaii.

Who is the Hawaiian monarchy? What have they contributed to the Hawaiian political movement? And prior to the annexation of Hawaii, prior to the illegal occupation by the U.S., what had the Hawaiian monarchy and our people done, what kind of legacies of the Hawaiian culture and the Hawaiian? So, education is so important. People think everything is Hawaiian in Hawaii. We have our own hula, we have our own dance, we have our own spiritual beliefs and values and practices as Hawaiians. People don't know that. So, through this song, I'm educating people about the monarchy and the arrival of my grandparents in Hawaii. I come from 25 generations of native Hawaiians. My grandmother and my grandfather are from Kalapana, Puna, Hawaii, but I'm proud to tell people I'm Hawaiian Filipino English. I'm proud to have descendants from Europe and from the Philippines.

I'm proud to be part Asian, and I'm proud to be 75 percent Hawaiian. And I grew up on Hawaiian homelands, which are equivalent to Indian reservations, but we were beneficiaries of agricultural lands. We grew guavas on our farms. We raised pigs on our farms, and cows. I know my roots. The roots and the values are so important to being a Hawaiian musician.

What does it mean to you to represent Hawaii and Hawaiian music, in this fresh, new way as you do it?

Whenever I get this gut feeling, I call it the whispers of my ancestors telling me what to do next. I always tell people, when I get this butterfly feeling to sing or write about this particular place or write about this particular person, it's not me just doing it. It's my ancestors whispering through my ears, guiding me to do it. And I always feel their presence around me. I feel them when I'm at the shoreline, I feel them when I'm up in the mountains or in the streams. They're always with me, especially my one grandmother who has Alzheimer's, my maternal grandmother. Earlier, I talked about my paternal grandmother who always uses the mantra "there's beauty all around."

And my maternal grandmother, Lu Kahunani, she's literally the love of my life, the big supporter of my Hawaiian music career, and my educational endeavors. She has Alzheimer's and she's 91 in November. She beat COVID-19 after four months, and she can't communicate with me anymore, but when I sang to her, her song, her eyes lit up. She nods at me, and I get that briefly from her, but I know spiritually, she knows that I love her, and she loves me. So, music is everything to me. Music is amongst my first loves.

"I do what I have to do through the whispers of my ancestors and forefathers guiding me. I'm very proud to come from the heart of the Pacific Ocean. I'm proud to share aloha through my music."

I love your and Amy Hanaiali'i's bilingual duet of the classic "When I Fall in Love." Why did you choose to cover the song and include it on this album?

I grew up listening to that kind of music. My dad is a bass player. He listened to Earth, Wind & Fire, The Temptations, Pink Floyd. Growing up in Hawaii, I grew up with diverse cultures and ethnic backgrounds. So, my childhood friends were just like me; native Hawaiian, white, Black, Hispanic, Korean, Chinese, Vietnamese, and we all spoke Hawaiian fluently on campus. I wasn't introduced to racism until I visited the mainland. People thought I was Mexican. I was like, "No, I'm Hawaiian. I'm a Hawaiian Filipino boy." And then they were all, "We love Hawaii." I basically grew up in a melting pot of diverse cultures, so I love doing cover songs, and interpreting them in my own way and in my own fashion.

And I love musicians like Natalie Cole. God bless her heart. She's in heaven, singing. She sang at Irvine's Barclay Theater and I had my own concert there, too so it inspired me to acknowledge these artists in my own way when I did the covers. And when we translate in Hawaiian—I hate using the word translate, we say interpret. We interpret it in the perspective of a Hawaiian thinker. So, if we say we fell in love, we'll use showers. I'm showered by love, by you. This subject is Hawaiian poetry, Hawaiian composition 101.

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Your last two albums both won the Best Regional Roots Music Album GRAMMY. I was curious what those wins felt like for you, and what it meant for you and the Hawaiian music community?

Oh gosh. You know in your [high school] yearbook? How you have wise sayings about what you want to do in life? In mine, at 18, I said that I wanted to win a GRAMMY. Yes, I did! We have receipts on that. [Laughs.] I live up to my goals, and I'm so determined and persistent about them. The accolades, I tell people; "Awards do not define my success. Awards do not define who I am."

I thank the Recording Academy and the GRAMMYs, I thank the indies, as well as those who are part of the labels, I have networked and built relationships with thousands of members of the Academy. I thank the Academy for elevating my career as a winner. Whether you're nominated or not, or whether you win, we're all artists in this industry, thriving together as one.

And I felt it, being a singer/songwriter making history for Hawaii, I cried about it, I cried and shed tears for the oppression that my people have faced here, in Hawaii, over 200 years. I cried because I am a representative of our people. I cried when I won because I was astounded that I won, to represent and bring Hawaiian music to this national platform ...  But I am the same Kalani Pe’a that came from the guava fields of Pana'ewa, Hilo, Hawaii, with chickens and pigs and cows. And I'm still that guy today that is going to wear a purple sequin jacket at the Lincoln Center and sing you a Hawaiian song and "When I Fall In Love" in English and Hawaiian because that's who I am, baby, yes!

That's awesome and so well said. If we're only striving for awards or external gratification, you'll never have enough. It's a balance of feeling, "Wow, winning this is amazing," and also knowing you're amazing no matter what, right?

Right. I've also got many emails and Facebook messages from musicians and upcoming musicians and students majoring in music or engineering and producing who are inspired now to become members of the Academy. I've inspired hundreds of musicians to sign up as members, and submit their music, whether it's in American roots or regional roots or reggae. That's a part of my legacy, and I'm very grateful to have encouraged Hawaiian artists. I gave them a broader perspective that we can do more. We could do more instead of just staying in the islands. We can grasp these opportunities and work with the Recording Academy and be very grateful they are giving us a platform.

Opening the door, yes!

Opening the door. Why? Because there's beauty all around. There's gold at every rainbow, girl. When you're chasing a rainbow, I think that is equivalent to chasing dreams. I think, the same as my grandmother, "Go and find the gold, but remember, continue chasing those rainbows and never be satisfied with what you have. Always find ways or seek ways to improve yourself as a person." Find a way to chase after that dream and accomplish your goals and do your best to strive for them.

I've always set short-term goals as a precedent and long-term goals, because, as a musician, mentally, physically, spiritually, we get drained. So, I'm going to be very transparent with you. People think our life is perfect as musicians, but it's not. We're human like everyone else, we have to find ways to take care of, again, ourselves and others in order to continue to thrive. That's what I feel. I hope that doesn't sound reactive or negative, but I feel like every musician has their own personal story and struggle, and we just got to continue finding beauty in everything. It's a tough industry.

You mentioned that you and your husband Allan have your own music business and publishing company. I was curious about your perspective as an independent artist, and any advice you have for either a young artist that wants to put out their music, or an artist at any point in their career that's thinking about making the move to be independent.

So many people complain and just don't do the work. And I really encourage people to not complain and just do it. And Allan and I believe in social media content, we believe in relevance and timing in life, and we believe that if you continue posting, it doesn't hurt you from getting the word out. If you can't afford a PR agency to post your work or promote you, do it on your own and continue doing it, and continue networking with people. It doesn't hurt to post five, 10 times a day, because we do it, sister. I mean, some people are like, "Oh my gosh, overflood." I'm like, "No, if you're promoting a new album, do it. If you want to promote a new music video, do it." Because why? No one else is going to do it for you, baby. Who's going to do it if you can't afford 20 grand to pay a PR agency to post once a day?

Allan and I do everything. If you are an independent artist, own your music, own your masters, work hard towards it by going to school. I've taken college courses on business and management and I got my bachelor's degree in public relations. Allan has a 20-year background in business. So, from business and marketing, we're able to create press kits and press releases.

Reach out to artists like me. I'm okay sitting down with people and talking these things over and guiding people. Don't be intimidated to reach out because I'm here when you need me.

What do you feel like a more equitable future for artists looks like?

From the first and second GRAMMY-winning albums, I realized that I have to reflect. As an artist, you have to reflect on your value and your time. And it's okay to say no at times, to really focus on your value. I hope that doesn't sound negative, but I recently said no. Because I'm a full-time touring musician and I have to really reflect on my value, my time and "how am I going to pay out my band, my staff, my venue?" And that's all with anxiety, but where do we seek the balance? Where do we find ways to really reflect on the importance of our craft, and how do we continue being creative in the process and in the making of things?

You have to understand your value and surround yourself with valuable like-minded people. And you don't have to have 100 people to love you or like you, but you can have at least 10 that can uplift your light, and you can uplift their light. You need someone to hold that torch with you because that light must continue to burn. You must continue to have that burning feeling as an artist. As much as I'm collaborating with you, we're building this burning feeling, the desire to create music, to do what we love. The question is, why do we remain passionate in our craft? Because it's who we are, it's what we do, it's what we love.

So, people are always going to find ways to bring you down, and I've had a lot of that, but don't allow them to not motivate you, to go down the drain. Allow that to give you the strength and the wisdom to surround yourself with just a few people who are like-minded to you at your round table. Collaborate with those people, build relationships with people in marketing, at news outlets. And I have built that little roster, and it's okay to have that little roster because those people are part of your circle. And so, I recommend other artists do the same, and whatever works for them.

What gives you the most hope right now?

[Creating] more music for the world to heal; that's my hope. To makes sure that the medicine is music and music is medicine for us all. I hope we can heal, as the years go by, from this pandemic. That is my hope.

Pipa Master Min Xiao-Fen On The "Harmony And Balance" Of Traditional Chinese Music & Her New Album, 'White Lotus'

Today the GRAMMY Museum in downtown L.A. hosted another successful GRAMMY Week event for students from across Los Angeles County, filled with music and joy. For the Hawaii Education Program, Hawaiian artists Bobby Moderow Jr. and Kimie Miner taught L.A.'s youth what ohana, or family, really means.  

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They shared their music with the excited audience of students, with Moderow—who is in a trio called Maunalua—demonstrating the traditional Hawaiian method of slack-key guitar and Miner bringing out her ukulele. He introduced himself as "Uncle Bobby" and his fellow presenter as "Auntie Kimie," explaining that everyone is family in Hawaii. Both of the singer/songwriters are Na Hoku Hanohano Award winners, which Miner described as the "Hawaiian GRAMMYs" (and the website explains that it was modeled after the Recording Academy).

"When you hear a song, you're actually hearing about someone's life," Moderow shared. He encouraged the students to share their stories with poetry and music.

Miner discussed how she started making music when she was 14, after her parents got the singer/songwriter her first ukulele. For the Hawaiian native, it's important to her to share the things she loves about her home and culture through her music, which captures the sunny vibe of the island. While her upbeat songs are "rooted in Hawaiian traditions," she loves incorporating a blend of influences, like pop and reggae, to spread her message of love and positivity far and wide.  

She performed her song "Bamboo," which won Song Of The Year at the 2018 Na Hoku Hanohano Awards, which had the kids clapping along to its Jack Johnson-esque melody. Explaining the backstory behind the inspiring lyrics, she shared that she co-wrote the song with Jesse Epstein, an L.A.-based singer/songwriter.

"One of the coolest thing about music is that you can collaborate with people from all over the world," Miner said.

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Before the two artists closed the event with a traditional farewell song, Moderow shared the story of Māui, who, in Hawaiian mythology, is believed to have pulled up the islands with his large fish hook. He explains that the hook has important symbolic meaning; what you put out into the world comes back to you. He encouraged the youngsters to remember "the three Fs: faith, family and future," when they think about what they want to share with the world.

If you want another taste of their music, the two artists will be performing for the public tonight, along with more Hawaiian musicans, at the GRAMMY Museum's Music Of Waikiki event at 7:30 p.m.

GRAMMY Week concludes this Sunday on Feb. 10 with the 61st GRAMMY Awards—be sure to catch the show live on CBS, beginning at 5:00 p.m. PT live from the STAPLES Center.

Marketing himself as a solo musician is a little excruciating for Sean Ono Lennon. It might be for you, too, if you had globally renowned parents. Despite his musical triumphs over the years, Lennon is reticent to join the solo artist racket.

Which made a certain moment at the 2024 Oscars absolutely floor him: Someone walked up to Lennon and told him "Dead Meat," from his last solo album, 2006's Friendly Fire, was his favorite song ever. Not just on the album, or by Lennon. Ever.

"I was so shocked. I wanted to say something nice to him, because it was so amazing for someone to say that," Lennon tells GRAMMY.com. "But it was too late anyway." (Thankfully, after he tweeted about that out-of-nowhere moment, the complimenter connected with him.)

It's a nice glimmer of past Lennon, one who straightforwardly walked in his father's shoes. But what's transpired since 2006 is far more interesting than any Beatle mini-me.

Creatively, Lennon has a million irons in the fire — with the bands the Ghost of a Saber Tooth Tiger, the Claypool Lennon Delirium, his mom's Plastic Ono Band, and beyond.

And in 2024, two projects have taken center stage. In February, he delivered his album Asterisms, a genreless instrumental project with a murderer's row of musicians in John Zorn's orbit, released on Zorn's storied experimental label Tzadik Records. Then just a few weeks later, his 2023 short film War is Over! — for which he co-wrote the original story, and is inspired by John Lennon and Yoko Ono's timeless peace anthem "Happy Xmas (War Is Over)" — won an Oscar for Best Animated Short Film.

On the heels of the latter, Lennon sat down with GRAMMY.com to offer insights on both projects, and how they each contributed to "really exciting" creative liberation.

This interview has been edited for clarity.

You shouted out your mom at the Oscars a couple of months back. How'd that feel?

Well, honestly, it felt really cosmic that it was Mother's Day [in the UK]. So I just kind of presented as a gift to her. It felt really good. It felt like the stars were aligning in many ways, because she was watching. It was a very sweet moment for me.

What was the extent of your involvement with the War Is Over! short?

Universal Music had talked to me about maybe coming up with a music video idea. I had been trying to develop a music video for a while, and I didn't like any of the concepts; it just felt boring to me.

The idea of watching a song that everyone listens to already, every year, with some new visual accompaniment — it didn't feel that interesting. So, I thought it'd be better to do a short film that kind of exemplifies the meaning of the song, because then, it would be something new and interesting to watch.

That's when I called my friend Adam Gates, who works at Pixar. I was asking him if he had any ideas for animators, or whatever. I knew Adam because he had a band called Beanpole. [All My Kin] was a record he made years ago with his friends, and never came out. It's this incredible record, so I actually put it out on my label, Chimera Music.

But Adam couldn't really help me with the film, because he's still contractually with Pixar, and they have a lot of work to do. But he introduced me to his friend Dave Mullins, who's the director. He had just left Pixar to start a new production company. He could do it, because he was independent, freelance.

Dave and I had a meeting. In that first meeting, we were bouncing around ideas, and we came up with the concept for the chess game and the pigeon. I wanted it to be a pigeon, because I really love pigeons, and birds. We wrote it together, and then we started working on it.

So, I was there from before that existed, and I saw the thing through as well. I also brought in Peter Jackson to do the graphics. 

This message unfortunately resonates more than ever. Republicans used to be the war hawks; now, it's Democrats. What a reversal.

It just feels like we live in an upside-down world. Something happened where we went through a wormhole, and we're in this alternate reality. I don't know how it happened. But it's not the only [example]; a lot of things just seem absolutely absurd with the world these days.

But hopefully, it points toward something better. I try to be optimistic. In the Hegelian dialectic, you have to have a thesis and antithesis, and the synthesis is when they fuse to become a better idea. So, I'm hoping that all the tension in society right now is what the final stage of synthesis looks like.

How'd the filmmaking process roll on from there?

Dave had made a really great short film called LOU when he was at Pixar; that was also nominated for an Oscar. He and [producer] Brad [Booker] know a ton of talented people; they have an amazing character designer.

We started sending files back and forth with WingNut in New Zealand; they would be adding the skins to the characters.

One of the first stages was the performance capture, where you basically attach a bunch of ping pong balls to a catsuit and a bicycle helmet. You record the position of these ping pong balls in a three-dimensional space. That gives you the performance that you map the skins onto on the computer later on. 

For a couple of years, there was a lot of production. David and his team did a really good job of inventing and designing uniforms for the imaginary armies that never existed, because we really didn't want to identify any army as French or British or German or anything.

We wanted to get a kind of parallel universe — an abstraction of the First World War. We designed it so that one army was based on round geometry, and the other was based on angular geometry.

It was a long process, and it was really fun. I learned a lot about modern computer animation.

Between Em Cooper's GRAMMY-winning "I'm Only Sleeping" video and now this, the Beatles' presence in visual media is expanding outward in a cool way.

I think we've been really fortunate to have a lot of really great projects to give to the world. I've only been working on the Beatles and John Lennon stuff directly in the last couple of years, and it's been really exciting for me.

And a big challenge, obviously, because I don't [hesitates] want to f— up. [Laughs.] But it's been a real honor. And I'm very grateful to my mom for giving me the freedom to try all these wacky ideas. Because a lot of people are like, "Oh, when are you going to stop trying to rehash the past with the Beatles, or John Lennon?"

Because the modern world is as it is, I feel like we have a responsibility to try to make sure that the Beatles and John Lennon's music remains out there in the public consciousness, because I think it's really important. I think the world needs to remember the Beatles' music, and remember John and Yoko. It's really about making sure we don't get lost in the white noise of modernity.

I love Asterisms. Where are you at in your journey as a guitarist? I'm sure you unlocked something here.

Like it's a video game. It's weird — I don't even consider myself a guitar player. I'm just, like, a software. But I think it's more about confidence — because it's really hard for me to get over my insecurity with playing and stuff.

For so many different reasons, it's probably just the way I'm designed — being John and Yoko's kid, growing up with a lot of preconceived notions or expectations about me, musically.

So, it's always been hard to accept myself as a musician, and this was kind of a lesson in getting over myself. Accepting what I wanted to play, and just doing it.

This is my Tzadik record, so it had to be all these fancy, amazing musicians. It doesn't matter what your chops are: it's more about how you feel, and the feeling you bring to your performance.

Once we recorded, it sounded amazing, because we recorded live to tape. So, everything on that album is live, except for my guitar solos. I didn't play my solos live, because I had to play the rhythm guitar. I was just paying attention to the band and cueing people. Once we finished the basic tracks, it just took us a couple of days, and it was done.

It was the simplest record I've ever done, because there were no vocals, so there wasn't a lot of mixing process. We recorded live to 16-track tape, and it was done.

I caught wind a couple of years back that you were working on another solo record simultaneously. Is that true?

I was working on a solo record of songs with lyrics. I finished it, and — I don't know, I think this speaks to the mental problems I have — but I didn't like it suddenly, and i never put it out. I just felt weird about it. I think I overthought it or something.

Then Zorn asked me to do an instrumental thing, and it was a no-brainer, because I've been a fan my whole life. The idea of getting to do something on his label was really an honor.

I got turned on to so many amazing musicians from Zorn, like Joey Baron, Dave Douglas, Kenny Wolleson, and Marc Ribot. Growing up in New York, that's always been my idea of where the greatest musicians are — Zorn and his gang.

Why'd you feel weird about the other album? Did it just not have the juice?

It's not that I didn't think it had the juice. I just got uncomfortable with the idea of putting out a solo record, and the whole process. I got nervous. I still think it's good. But I don't know if it's good enough to warrant me releasing it.

That's fine playing in bands, like the [Claypool Lennon] Delirium and GOASTT [Ghost of a Saber Toothed Tiger]. It takes a degree of unnecessary pressure off of making music. But as soon as your actual birth name is on the record, it starts to feel uncomfortable for me.

People are ruthless today, period. But they're especially critical of me with music. So, it's like, Do I really need to do that s—? It's a little more awkward: "I, myself, Sean Lennon, am putting out my art, and here it is." I'd rather be part of the band.

The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"

Long before Dua Lipa reached pop megastardom, she declared the mantra that would soon become the core of her art: "It has to be fun."

Whether in club-hopping evenings or tear-streaked mornings, Lipa has continuously found a way to bring catharsis and movement into every moment — and, subsequently, every song she's released. So when she announced that her new album would be called Radical Optimism, the second word seemed obvious. But what would radical mean for Dua Lipa, and how did she get there?

Considering her time as a model prior to her music career taking off, many found it easy to write off the London-born singer as by-the-books pop, all-image artist. But even before taking a listen to her self-titled debut, Lipa's upbringing reveals far more complex feelings and inspirations.

The daughter of Kosovo Albanian parents living in London, Lipa took notes from her musician father, digging deep on the likes of the Police, David Bowie and Radiohead, while dancing to Ciara and Missy Elliott with her classmates. After a four-year stint in Kosovo when her family relocated, the then 15-year-old Dua moved back to London to stay with a family friend and build towards an inevitable music-oriented life, which began with clubbing incessantly and posting covers of Alicia Keys and Christina Aguilera on YouTube.

Lipa was still working in restaurants when she first made contact with the music industry, burning the candle at both ends — as well as a third end unseen to mortals. "I'd finish work, then go out to whatever nightclub was happening until, like, 3 in the morning," she recently recalled to Elle. "Then I would wake up and go to the studio until I had my shift again at, like, 8 pm."

Warner Bros. Records caught wind of those sessions and signed her in 2014, leading to even more time in the studio (and, likely, less waitressing). Her debut single, 2015's "New Love," showcases everything that would lead to her eventual pop takeover: the resonant, sultry vocals, a propulsive beat, and a video full of effortless cool.

There would be seven more singles to follow from 2017's Dua Lipa, with the budding pop star co-writing a majority of the albums' tracks, alt R&B icon Miguel collaborating on a song, and Coldplay's Chris Martin providing additional vocals on the closer. While there are plenty of hits to take away ("Blow Your Mind (Mwah)" is a particular favorite in its grand and stompy disco sass), the true star here is "New Rules." Detailing the "rules" to avoid a problematic ex, the song could be cloying and twee, but Lipa's chill swagger sells the dance floor intensity and female empowerment in equal doses.

Listeners around the world agreed, as the song marked Lipa's first No. 1 in the UK and several other countries, as well as her first top 10 hit in the U.S. It also earned Lipa spots at festivals, a performance on Later… With Jools Holland, and five nominations at the 2018 Brit Awards — the most of any artist that year. She laid out a pretty clear manifesto after winning British Female Solo Artist: "Here's to more women on these stages, more women winning awards, and more women taking over the world."

As that year went on, Lipa solidified her own role in that mission. She became a hot collaboration commodity, first linking with Calvin Harris for the UK chart-topping "One Kiss"; then teaming with Mark Ronson and Diplo's Silk City for another club hit, "Electricity"; and even being recruited for Andrea Bocelli for "If Only," a track on his 2018 album, Sì. Her breakthrough was cemented in GRAMMY gold at the 2019 ceremony, too, as she won two golden gramophones: Best Dance Recording for "Electricity," and the coveted Best New Artist.

Early word of the Dua Lipa followup, Future Nostalgia, was that Lipa was amping the disco energy. "[The album] feels like a dancercise class," she hinted in July 2019 to the BBC, who also reported that the now full-fledged pop star was working with Pharrell, Nile Rodgers, Tove Lo, and Diplo.

Lead single "Don't Start Now" was co-written with the team behind "New Rules," and the hyper-elastic bass, MIDI strings, and honest-to-goodness cowbell more than lived up to her promise of disco domination. The track went platinum in five countries, a feat that would go on to be topped by multiple tracks on the album, including the smoldering "Physical" and the INXS-interpolating "Break My Heart."

The album's March 2020 release was a thing of anxious beauty. It could've been pure tragedy to release an album designed for sweaty, crowded clubs in the throes of the COVID-19 pandemic. And when the album leaked a full two weeks prior to its release, even Lipa wasn't sure if her timing was right. "I'm not sure if I'm even doing the right thing, but I think the thing we need the most at the moment is music, and we need joy and we need to be trying to see the light," she said in an Instagram Live days before the album's release.

True to that spirit, Lipa's openhearted enthusiasm and unadulterated fun made the album a staple of lockdown dance parties and wistful dancefloor daydreams. In a bit of chicken-and-egg magic, the album's runaway hit is the inescapable "Levitating." The song's buoyant synth pulse, clap-along disco groove, drippy strings and punchy hook add to something far greater than the sum of its parts. And DaBaby's in-the-cut remix verse helps fulfill Lipa's rap-meets-pop dreams. But it definitely didn't hurt to have the track basically overrun TikTok — and a video produced in partnership with the platform — at a time when we were all stuck at home, looking at our phones as a way to connect with the world.

That was only the beginning of the pop star's effort to make the most of the pandemic era; Lipa continued to find innovative ways to bring fans into her disco-fueled sonic universe for some joy and connection. For one, she evolved Future Nostalgia into a remix album: Club Future Nostalgia, featuring electronic minds like Moodymann and Yaeji, as well as high-profile guests like BLACKPINK, Madonna, and Missy Elliott. And while fans who had grown connected to the album were hungry for an event to attend, she developed Studio 2054. The technicolor, gleeful live-streamed event saw millions of viewers virtually join Lipa in an immaculately choreographed, star-studded dance party — one that further displayed her magnetic personality and in-the-moment attitude.

Through the entire Future Nostalgia era, Lipa's purpose further proved to be more than the music. Yet again, it was about the amount of fun and energy it was able to provide to fans, something that proved to resonate in an even bigger way than her first project.

"[Future Nostalgia] took on its own life. And that in itself showed me that everything is in its own way for its own specific purpose, for its own reason," she told Variety earlier this year. "As long as I'm being of service and the music is there and it's a soundtrack for a moment in time, or in someone's life, then I've done what I was supposed to do."

Before getting to work on her third LP, Lipa kept the dance party going with new and old collaborators. First, she scored another UK No. 1 and U.S. top 10 hit alongside Elton John with "Cold Heart (Pnau remix)"; later, she was enlisted for feel-good singles from Megan Thee Stallion and Calvin Harris' 2022 albums. Then, a reunion with Mark Ronson led to a summer 2023 detour in Barbie land, resulting in another disco-tinged smash, "Dance the Night," for the blockbuster film's soundtrack (as well as her acting debut!).

With the good vibes clearly not fading, Lipa was primed for her next musical venture. In November, she unveiled the lead single to her next project, "Houdini," a swirling track that features a trio of new collaborators — and a brilliant, if seemingly dissimilar, set of co-writers at that: former PC Music electronic experimentalist Danny Harle, Tame Impala frontman (and retro psychedelia mastermind) Kevin Parker, and breezy Canadian singer/songwriter Tobias Jesso Jr. But with her trusty songwriter pal Caroline Ailin also in tow, Lipa retained the same trademark dance pop pulse amid crunchy bass and stomping percussion — putting the Radical into the Optimism.

She kept the same team (and energy) for the album's subsequent singles, "Training Season" and "Illusion." The former thumps and jitters underneath Lipa opting for a willowy falsetto in the chorus, a song that can unite Tame Impala psych addicts and more traditional poptimists at the club. And where earlier Lipa tracks might have been more eager to get to a bright punch, "Illusion" smolders patiently, trusting that the vocalist's charisma can buoy even the subtler moments.

While the album's first three singles carry echoes of the propulsive, dance floor energy of Future Nostalgia, Lipa took more notes from a more modern pop era than the disco days on Radical Optimism. "I think the Britpop element that really came to me was the influences of Oasis and Massive Attack and Portishead and Primal Scream, and the freedom and the energy those records had," she told Variety. "I love the experimentation behind it."

But, she insists, that's not to say that she's produced the next "Wonderwall." This isn't Dua Lipa's Britpop turn, but rather her latest experiment in finding freedom and embracing the moment.

"When I hear 'Teardrop' by Massive Attack and I'm like, 'how did this song even come to be? It feels like it just happened in a moment of real freedom and writing and emotion," she continued in the Variety interview. "And I think that was just the feeling I was trying to convey more than anything."

And in her mind, that freedom needs to remain at the core of everything — whether working through a global pandemic or working on a new project. "I think it's important that we just learn to walk through the fire and not hide away from it, or shy away from it," she added. "That's just optimism. It's probably the most daring thing we can do."

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Electronic music is embedded within the diverse world of Latin music and, for the first time, will be recognized in a new Field and Category at the 2024 Latin GRAMMYs. Within that field, the award for Best Latin Electronic Music Performance was created to shine a light on DJs, producers, and artists blending proudly blending electronic music with the sounds of their cultures.

Electronic music embodies various subgenres like house music, techno, trance, electronica, and many others rooted that have been popularized by DJs and producers. Latin artists have long enriched those subgenres: Mexico's Belanova globalized the electro-pop wave, while Bomba Estéreo blended cumbia with electronica in Colombia. 

The explosion of EDM in the 2010s also allowed the careers of Latinx DJs to flourish. Mexican American DJ Deorro has showcased both cultures during sets at music festivals like EDC, Coachella, Tomorrowland, and more. Arca's music pushes the boundaries of electronic music through a Venezuelan and Latin American lens. More recently, Colombian producer Víctor Cárdenas bridged the gap between EDM and reggaeton with the global hit "Pepas" by Farruko. Since then, electronic music has seeped through the work of Latin hit-makers like Tainy, Caleb Calloway, Bizarrap and Diego Raposo. "Pepas" and many of Bizarrap's music sessions crossed over onto Billboard's Hot Dance/Electronic Songs.

"That’s something that’s very big for us," Deorro tells GRAMMY.com about the new category. "How beautiful that this is happening, because it shows that what we’re doing is working, we’re breaking down doors, and we’re creating more opportunities for artists like us in the future." 

In honor of the Latin Recording Academy's new Field and Category, here are eight must-hear Latin electronic music essentials.

Belanova - Cocktail (2003)

Belanova revolutionized the Latin music space with their 2003 debut album Cocktail, an atmospheric LP that seamlessly blends Latin pop with electronic music. In the dreamy deep house of "Tu Ojos," singer Denisse Guerrero sang about getting lost in her lover's eyes. The trippy techno of "Barco De Papel" was reminiscent of the music from Madonna's Ray of Light album. Electronic music on the ambient level wasn’t common in Latin music until Belenova changed the game in Mexico, which later reverberated into the rest of Latin America and the U.S. 

The trio — which includes guitarist Ricardo Arreol and keyboardist Edgar Huerta — later delved into electro-pop on 2007's Fantasía Pop, which won a Latin GRAMMY for Best Pop Album by a Group or Duo the following year. 

Arca - Kick I-II (2020)

Venezuelan producer/artist Arca is a pioneer in the Latin electronic music space. Arca first began producing her experimental electronica in Spanish with her 2017 self-titled album.

Arca then masterfully mixed the diverse sounds of Latin America and beyond with EDM throughout her Kick album series. 

For Kick I, she combined Venezuelan gaita music and reggaeton with a cyberpunk edge in "KLK" featuring Spanish pop star Rosalía. Arca then blended electronica with neo-perreo on Kick II's "Prada" and "Rakata." Both albums garnered Arca GRAMMY and Latin GRAMMY nominations. 

As a trans and non-binary artist, she is also breaking boundaries for the LGBTQ+ community in the genre. Arca is just not creating more space for queer artists in Latin music, but also in EDM at large by embracing the totality of herself in song.  

Bomba Estéreo - Deja (2021)

Bomba Estéreo, which is comprised of core members Simón Mejía and Liliana "Li" Saumet, has masterfully melded the music of Colombia’s Caribbean coast with electronic music. Since breaking out in 2008 with their sophomore album, the group has often reimagined the African and Indigenous rhythms of their country like cumbia through dance music. Bomba Estéreo’s folkloric approach to EDM has led to collaborations with Bad Bunny, Tainy, and Sofi Tukker.    

In 2021, Bomba Estéreo released its most ambitious album Deja, which garnered a GRAMMY and Latin GRAMMY nominations. The title track put a funky spin on the band's signature electro-tropical sound. House music collided with the Afro-Colombian rhythms of champeta in "Conexión Total" featuring Nigerian singer Yemi Alade. Their album that was based on the four classical elements was a breath of fresh air in the Latin music scene. 

Bizarrap - "BZRP Music Sessions #52" (2022)

Argentine producer Bizarrap launched the BZRP Music Sessions on YouTube in 2018, first remaining behind the console for freestyle rapping sessions with local acts. The sessions quickly went viral, and have featured increasingly larger names in music.

Over the past five years, Bizarrap worked elements of electronic music into his hip-hop productions. In 2022, he fully delved into EDM with his global hit "BZRP Music Sessions #52" featuring Spanish singer Quevedo. The traptronica banger peaked at No. 4 on Billboard's Hot Dance/Electronic Songs and earned Bizarrap his first Latin GRAMMY Award. 

Since then, his music sessions have become a global event. Bizarrap later infused electro-pop with a trap breakdown in "BZRP Music Sessions #53" with Shakira, which garnered him two more Latin GRAMMY awards. 

Javiera Mena - Nocturna (2022)

Javiera Mena first debuted as an indie act in 2006 with Esquemas Juveniles. With that freedom as a producer and artist, the Chilean star pushed Latin music into the electronic space with her 2010 album Mena. 

She fully immersed herself into Latin electronica on her latest album, 2022's Nocturna — an album filled with nighttime club bangers that invite everyone to dance with her. Mena also proudly sings about being part of the LGBTQ+ community in the alluring "La Isla de Lesbos" and the fierce house music of "Diva" featuring Chico Blanco. Considering the influence of queer artists in the formation of electronic genres like house, it’s refreshing to see an artist like Mena remind people of those roots and bring that into Latin music.  

Deorro - Orro (2022)

Mexican American producer Deorro has established himself as one of the world's top DJs, and is known for mixing both of his cultures into his music festival sets. Even before the música mexicana explosion last year, he was one of the first mainstream EDM acts to bring the genre to music festivals around the world through his songs and remixes.   

With his debut album, 2022's Orro, Deorro fully bridged música mexicana with house music. He collaborated with Latin acts like Mexico's Los Tucanes De Tijuana and Maffio in "Yo Las Pongo," which blended the band's norteño sound with EDM. Deorro also explored cumbia with deep house in the sweeping "Dime" featuring Los Ángeles Azules and Lauri Garcia. In his recent sets, he is spinning a fiery remix of "Ella Baila Sola" by Eslabon Armado and Peso Pluma

Sinego - Alterego (2023)

Sinego first broke through in 2019 thanks to his house bolero sound like in "Verte Triste," which put a refreshing spin on an age-old Cuban genre. With traditional genres within the Latin diaspora often falling to the wayside as the years go on, he is reintroducing them to new audiences through EDM reimaginings.   

For his debut album, 2023's Alterego, the Colombian producer pushed his electronic music to another level. Sinego traveled to different Latin American countries and Spain to record with local musicians, reimagining genres like cumbia, tango, and mambo through Sinego's EDM lens. With the sultry "Mala," he blended Venezuela's variation of calypso with house music. He also gave Brazilian samba a house music makeover in "Boa Noite" featuring Tonina. 

Diego Raposo - Yo No Era Así Pero De Ahora En Adelante Sí (2023)

Dominican producer Diego Raposo has helped Latin acts like Danny Ocean, Blue Rojo, and Letón Pé embrace elements of electronic music. In 2018, Raposo released his debut album Caribe Express, which demonstrated his knack for mixing the sounds of the Caribbean with EDM. 

Raposo took that inventive mix into overdrive with last year's Yo No Era Así Pero De Ahora En Adelante Sí. The otherworldly "Si Supieras" featuring Okeiflou blended house music with reggaeton, while "Al Contrario" with Akrilla aggressively mixes drum 'n 'bass with dembow. Rapaso also channels Dance Dance Revolution-esque electronica in the spellbinding "Quédate" with Kablito. 

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