The three members of Say She She are only home for what feels like "two seconds" — a much-needed but all too brief respite from a whirlwind year that included two records, nearly 100 performances and almost twice as many flights.

The Brooklyn-based trio of Piya Malik, Nya Gazelle Brown and Sabrina Mileo Cunningham perform a dizzyingly funky, operatic take on dance music — an entrancing and ever-danceable vein they dub "discodelic soul." For their groovy efforts, Say She She have garnered fans across multiple continents, topped radio charts and performed at some of the globe’s biggest festivals.   

And somehow, in the midst of international touring, Say She She managed to record their sophomore album, Silver. An expanded and sonically evolved take on their 2022 debut, Prism, the group’s latest drops on Sept. 29 with 16 tracks of earwormy disco ("Forget Me Not"), Bollywood-inflected vibes ("Find A Way") and politically-laced funk ("Norma").

"We’re all just doing the thing that we love. It is a lot of work, no one's denying that," Malik tells GRAMMY.com. "It's a lot of love and work and sacrifice and community helping us."

On Silver, the trio’s impeccable voices are front and center. All are classically trained vocalists, and their harmonic and personal bonds apparent. The ladies of Say She She first met in 2018 when Cunningham and Malik, who were neighbors in Manhattan’s Lower East Side, began casually writing songs. Each were involved with other groups — Malik performed with El Michels Affair and Chicano Batman; she and Brown were both members of Brooklyn group 79.5 — and eventually became a trio. 

The rest, as they say, c’est si bon.  

In the brief interlude between tour stops, Malik, Brown and Cunningham reminisce about their favorite moments from the past year, creating Silver and their hopes for a more empowered future.

This interview has been edited for clarity.

On Writing Their New Album, Silver

Sabrina Mileo Cunningham: We planned the writing of the second album and did a nice writing camp in L.A. with our band. It was a labor of love. When we were planning when to do these writing sessions, we knew we wanted it to be a good chunk of time, but we definitely consulted the stars for a creative period of the year.

Piya Malik: If you ask any person who grew up as a Hindu, we consult the stars for everything.

Cunningham: That was definitely the most creative that I've ever personally felt. That was like channeling all sorts of different things. And yeah, it was just a really kind of wonderful and big, magical experience to write all those songs.

Malik: Prism was made in this kind of context of the fact that we were in a lockdown. And we had these old tape stems that we'd made with our friend Joey Crispiano that were originally meant to be demos and Sab and I had gone in and cut those. When we first started the band, it was really just a very quick thing.

And then, of course, we had COVID, and a lot of it was done remotely with all the production and the mixing and all that stuff, which is extremely difficult. Now, fast forward to Silver, we're all physically in the room during the process of the recording and the writing, just feeding each other's energy. And that absolutely changes things. Most of the lyrics were written on the spot — I think it's to do with capturing this excitement and this energy and this moment. 

Nya Gazelle Brown:  After we wrote "Questions," I think we all had to take a moment. I don't know if all the listeners would feel the same way, but there's a certain drive in that song — what the bassline is doing and what the drums are doing together — that creates this tension that physically works your body up. We had to have a moment of silence after we wrote it because we just couldn't believe that that came out of us.

Championing Progressive Causes Through Their Music 

Malik: We are all political just by being who we are, not just because of the jobs and the experiences that we've had. Just by being women from diverse backgrounds with something to say, who have gone through some life experience. So why not allow our truest expressions to come out in our music?

In "Reeling," there's a lyric, "Kick the door down, smash the ceiling, leave them reeling."So I think, again, you can see here, there's passion and rage, but also trying to be constructed and move forward. And we launched that single with a piece of evovinyl with Frank Moody and the money goes towards climate change activism.

Cunningham: For "Norma," there were so many emotions that we were experiencing. Because we woke up and read in the Times that Roe v. Wade might be overturned, and we just came into the studio. I think half of us were crying, half of us were just pissed. And it was just a very visceral expression of exactly what we were feeling and there was just not really anything else we could write that day.

Brown: To be able to use our voices in such a forward way, standing for the things that we really truly believe in, was really important for me. It's really special when we see the audience relate to it and sing along and do the choreography. It just feels like we're united and that we're going to be okay.

Malik: [Our tour had some] all-ages shows, and you could see teenagers. And they were screaming the lyrics, and I got such chills on that stage watching them. I felt like they felt supported. Okay, there are older women fighting for us. Even if the government isn't, we're here fighting to try and make sure that things don't go so far to the right.

"Echo In The Chamber" is about gun control and we've actually launched a postcard writing campaign; it's a letter to senators that we're going to be including this on the mailouts with all of the vinyl …a campaign to help support the Background Check Expansion Act. We need to do something to use our voice in a constructive way. We start every writing session and well, "What is it that we want to say and what are we mad about right now? What are we feeling and what's going on out there in the public?"  

Our live set and a lot of our music is there to uplift, and we believe the medium is the message. And so the way in which you present messages is important for how people receive them. So I love that our protest song, "Norma," is actually a space to dance and to make people get up. To protest, to fight for your rights, to defend that doesn't have to be violent. It can be a celebration too.

Playing Glastonbury Four Times In 48 Hours…And Almost Getting Crushed 

Brown: There was so much drama getting our equipment to the recording [of the BBC's live from Glastonbury coverage with Lauren Laverne]. Fatboy Slim and Lana Del Rey were performing and their crowds were massive! So we had to get our gear from one place to the other and go through that crowd. It was just impossible. I don't know how many hours we waited to be able to get the stuff through the people.

Malik: Nya and I nearly got crowd crushed trying to run to the van and come back! They're waiting for our backline and there's an hour to go before we're meant to go tape. So we turn around and we look at each other and we're like, "Okay, get your boots on. There's no way we're letting this not happen." We managed to just lug the gear across the field and get it to the BBC in time and use some of their backline. 

Lauren Laverne [is] a childhood hero of mine. You never think of an Indian girl in the UK that Lauren Laverne's going to put you on the radio one day. Everyone in England watches this. My family are crying, tears of joy for once, instead of telling me, "What are you doing? This is not a proper job. Come home."

Performing Sold-Out Shows At Iconic Venues

Cunningham: Opening for Thee Sacred Souls at Brooklyn Steel was a real highlight. It was a sold-out show. We're all from New York, so the family was there and it just was such an incredible night.

Brown: Just the air was right, the sound was right. The energy was just so perfect. Everybody was waiting to experience the night and the magic was just so thick.

Malik: [Playing] the Hollywood Bowl was really special. Portugal. The Man are just the nicest people on earth; we'd met them some years back and stayed in touch. And so, it was crazy that they invited us to open for them for the Hollywood Bowl. Who could have thought? We were practically an unheard of band — people wait their whole lives to play the Hollywood Bowl. And it's special for the boys [in the backing band] because they're from LA. [The venue holds] 17,000 people and it's a sold-out show and we didn't know that until afterwards. 

Making Their National TV Debut On "CBS Sunday Morning"

Cunningham: That was a huge moment for us. 

Malik: It was so inspiring to me to watch this female director — she's absolutely gorgeous and this badass powerhouse — and she's like, "Cut to here! Do this! Camera! Directing!" And I just like, Yeah, of course you're amazing at this, you multitasking, amazing woman. She put so much thought into every single detail of the stage. It was a newfound appreciation for how much work goes into everything that you watch on the TV.

Getting Creative With Couture At Chanel's Summer Music Series

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Brown: It's Chanel, okay? It was really a special treat. We got to wear these beautiful clothes and pick out things and the people there consulted with the Paris office in real time, "Do we like this? Do we like that?" That was pretty cool.

Malik: We really manifested that. What's the line? "Say She She. Say Chanel?" That was a favorite brand of ours. We always wanted to work with that brand. It was very specific and it was something that we would say quite a lot.

We love couture, but you want things to be accessible. And I think that Chanel has really reached out to kind of bridge the gap between affordability in the fashion world, but still keeping class and celebrating women's bodies. 

Cunningham:[Co-curators Caroline de Maigret and Vivienne Rohner] were looking for working bands from New York, and the fact that the name of the band is a silent nod to Nile Rodgers. And now Rodgers is someone that Chanel's been working with quite a bit in a lot of their campaigns.

And we got the call and we were just like, "Yeah, definitely." Again, we had two seconds to drop our bags: We were in the UK, came back and then headed to the Hamptons. 

Malik: Caroline de Maigret is just an icon; she's this incredible musician and producer. She's navigated the music business for so long with such grace and she treats people with such respect. It was this beautiful alignment of all the things that we wished to be and places where we wanted to be.  

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Anyone who’s been to the Bonnaroo Music and Arts Festival, which returns June 13-16 for its 21st edition, will know that the Manchester, Tennessee festival can be a marathon.  

High summer temperatures and humidity, often some rain and mud, and more than 100 artists to navigate over four full days — three of which extend with late-night sets that run until nearly 4 a.m. But, veteran Roo attendees also know that it’s well worth enduring. 

Of the myriad fests held each year, few have the sense of community felt at Bonnaroo. Perhaps it’s due to the fact that the majority of the roughly 90,000 attendees are camping, meaning that no matter what happens, they’re all in it together. Or maybe it has to do with the fest’s self-generated “Bonnaroovian code,” which implores festgoers to “radiate positivity” throughout.

During the early aughts, a huge part of the bonding experience arrived during cross-generational legacy artist sets — often classic rock legends or big time jam bands closing out the fest’s final day — including Elton John, Paul McCartney, Tom Petty, Billy Joel, Phish, Widespread Panic and the String Cheese Incident. As primary ticket buyer age demographics shifted, so did the lineups, particularly with regard to headliners, who began leaning more prominently toward pop, hip-hop and EDM. This year’s finale sets feature Pretty Lights (playing two full back-to-back sets on June 13 plus a sunrise set two nights later), Post Malone, Fred again.. and Red Hot Chili Peppers (the one top-line exception as they’re arguably a legacy act at this point). 

Of course, there are plenty of performers amongst the lineup’s incredibly diverse undercard that still embody the classic jam band spirit, and even more newcomers or rising stars that encompass a mind boggling range of musical styles. Read on to get the inside line on 10 must-see artists who fall into the latter category. 

If you’re angling to find a dance party to get your blood pumping on the first day of the fest, look no further than Brooklyn-based Say She She. Fronted by three women — Piya Malik (formerly of Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown — Say She She produce flawless harmonies over what they describe as “discodelic soul.”

At their core, they sound like Nile Rogers and Chic, who they’ve candidly owned as chief influences (to the point where Rogers reached out to personally give them a nod). There’s sometimes bits of ABBA vibes sprinkled in, but all that said, their sound is hardly a rip-off. The music certainly pays tribute to classic disco, but with elements of 90s R&B and neo-soul, it comes across as fresh, unfiltered and — on the strength of three voices harnessing incredible range — capable of moving in countless other sonic directions. They’re two albums in (sophomore full-length Silver was released last year) and already garnering shining reviews; now’s the time to catch an act in a small tent before they assuredly graduate to bigger stages.

Read more: Say She She's Big Year: How The NYC Disco Funk Group Made Sure The World Wouldn't Forget Them 

Indie rock is a fine general description for the music of singer/songwriter Abby Holliday, but it’s difficult to put her style in one box. Sure, a lot of the music on her 2023 sophomore album I’M OK NO I’M NOT sounds quite a bit like boygenius, but it dares to go further. Holliday incorporates unexpected elements like autotune vocals, which often resonate like Bon Iver and at other times more closely resemble the hooks from popular hip-hop songs.

Amid the gentle melodies and distinctly emotional lyrics are bursts of heaviness and exuberant energy, which in all likelihood will translate to a magnetic set to help kick off the Roo roster on June 14. One can only imagine how triumphant it might feel to play an essentially hometown fest of this magnitude (Holliday is based in Nashville, about an hour’s drive west). It’s almost a sure bet it will be a milestone moment worth witnessing.  

The first Bonnaroo in 2002 was headlined by Trey Anastasio, moe. and Widespread Panic (among others), and slowly but surely, Bonnaroo has veered away from those jam band-heavy roots. But there’s always something in the mix harkening back to those origins, and this year it’s unmistakably Joe Russo’s Almost Dead.

The five-piece group was conceived in 2013 by its namesake drummer / singer along with another jam rock veteran, Ween bassist Dave Dreiwitz, and has since established itself as one of the foremost Grateful Dead tribute bands (they play other tunes, but the Dead are the main focus). The last Grateful Dead-oriented performance at Roo was Dead and Company’s back-to-back double sets in 2016, so if you’re looking to experience some long-awaited old school Roo vibes among the fest’s veteran fans, make sure to pop by JRAD’s show on June 14. 

With the March release of latest album JPEG raw, Austin, Texas-bred guitar hero and four-time GRAMMY winner Gary Clark Jr. seems intent on breaking out of the blues mold — a common blanket description for his catalog spanning nearly two decades. On his fourth full-length, he delves deep into hip-hop, classic R&B (notably with a feature from living legend Stevie Wonder on “What About the Children”) and even traditional African music. If you’ve listened closely to Clark’s music all along, you’d know that he’s always incorporated a slew of styles, but his recent recordings represent the most overt effort to exude his sonic diversity.

One thing that hasn’t changed over the years — which will doubtless be on full display during his Bonnaroo appearance — is Clark’s penchant for superb shredding. You already know this if you’ve seen him live, and for all the newcomers, get ready for your jaw to drop for the duration of his hour-long set on June 14.

Read more: Gary Clark, Jr. On 'JPEG RAW': How A Lockdown Jam Session, Bagpipes & Musical Manipulation Led To His Most Eclectic Album Yet

Kentucky-bred outfit Cage the Elephant delivers one of the most riveting rock shows around. With his Iggy Pop-esque antics — never not running and writhing from end to end and often standing atop the audience — frontman Matt Shultz’s stage presence alone is enough to rile up thousands of fest fans at any time of day.

That’s been the standard since they put out their 2008 self-titled debut, and based on the decidedly anthemic indie-rock sonics of just-released sixth full-length Neon Pill (plus the fact that they’ll be only a little more than a month into touring and imbued with a fresh burst of boisterousness), there’s every chance the band’s June 15 main stage set will manifest as an explosive Roo moment not-to-be-missed. 

Hailing from the small, unsuspecting East Texas city of Beaumont, rapper, singer/songwriter and producer Teezo Touchdown (born Aaron Lashane Thomas) only launched his professional career eight years ago. But within the past four years, he’s become a household name among contemporary rappers. His 2023 debut album How Do You Sleep at Night? notably featured 10-time GRAMMY nominee Janelle Monáe; in the years preceding, he’d already collaborated with Travis Scott, Tyler, the Creator, and Lil Yachty. He performed to his largest audience as a guest at this year’s Coachella during Doja Cat’s headlining sets to perform their single “MASC.”

Yet, his impressive set of credentials isn’t the main reason you should include him on your Bonnaroo schedule. He’s an enigmatic performer: sporting his signature wig of nails and flower bouquet-enshrouded microphone, he switches seamlessly from sharp raps to ear worm singing. There’s never a lapse in his on-stage energy, assurance that his early evening set on June 15 will provide a surefire pick-me-up to help push through the remainder of the marathon fest.

Read more: Teezo Touchdown, Tiana Major9 & More Were In Bloom At The 2024 GRAMMYs Emerging Artist Showcase 

Jake Wesley Rogers has come a tremendously long way from his first spotlight at age 15 on "America’s Got Talent" in 2012 (where he was eliminated). He supported Kesha on her Only Love Tour in 2023, and now he’s opening the main stage on the final day of Bonnaroo. 

The Missouri native’s rise to budding star, built upon four EPs and a handful of standalone singles, is well deserved. On stage, Rogers absolutely belts a soulful, goosebumps-inducing tenor, and he performs with all the glamorous energy of a young Elton John (even sporting similarly flamboyant sunglasses and climbing atop his piano while banging on the keys). Muster the energy to get on the field early after three days, or you might regret missing a pivotal moment for an artist who’s likely on his way to fest headliner status.

Read more: Tour Diary: See Jake Wesley Rogers' Favorite Photos & Memories From Touring With Panic! At The Disco 

For the past decade or so, post-punk has seen a significant resurgence, and on the surface it may appear that England’s Idles are one of the bands leading the charge, but they’ve staunchly rejected the descriptor. Vocalist Joe Talbot said it directly in a recent interview with British daily newspaper the Times: “We’re not a punk band.”

There’s ample evidence of that on their fifth album, 2023’s Tangk, which delves into new sonic territory with songs like “Dancer,” where the band mixed in elements of art-pop via collaboration with LCD Soundsystem's James Murphy and Nancy Whang. Backtrack to third album Ultra Mono (released in 2020 at the height of the pandemic) and you’ll hear that they were already veering away from the punk rock mold with distinct elements of hip-hop and other styles on songs like “Grounds.”

All that said, their shows resonate with the in-your-face energy of punk rock, yet they stand out significantly among other bands of the genre by exuding an overwhelmingly positive, unifying spirit. Many fans have described their show as something akin to church, and with the group at the top of their game and at a festival that already historically proliferates such a mindset, their Bonnaroo appearance on June 15 is certain to be one for the books. 

Read more: IDLES Chatter With Joe Talbot: How The British Rockers Get Personal, Political & Festival Filthy 

Chappell Roan is having a major moment. The 26-year-old electro-pop singer/songwriter (real name: Kayleigh Rose Amstutz) immediately became a viral sensation when she dropped her song “Die Young” on YouTube at age 17. Now — after releasing debut album The Rise and Fall of a Midwest Princess (a nod to her Missouri origins) in 2023 and opening for Olivia Rodrigo on her Guts World Tour earlier this year — she’s become one of the most anticipated artists at 2024 festivals nationwide.

Roan, which Amstutz equates to a sex-positive drag persona, performs with supreme professionalism, and her ability to deliver pristine vocals while exhibiting unerring athleticism (high kicks aplenty) proliferates non-stop audience engagement. Her fans are diehards who belt out every word, and with a relatively small platform at Bonnaroo in a tent on June 16, she’s sure to draw one of the most overflowing audiences of the weekend. If you wanna get anywhere close to the stage (and you should), make sure to arrive early.

Read more: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon" 

It’s almost a disservice that electronic musician/producer Four Tet is slated for a late afternoon/early evening set at Bonnaroo, a couple of hours before sunset. His hypnotic and experimental yet highly danceable compositions lend themselves to a late-night performance packed with spellbinding lights cutting through the darkness to illuminate the pulsating crowd. 

On the other hand, he boasts a legendary reputation for live sets, plus a prolific catalog that spans more than 20 years and 12 studio albums, including this year’s Three. As a whole, it's a discography that can cater to not only electronica fanatics, hip-hop heads (note his many collaborations with Madlib) and experimental enthusiasts. To boot, there’s potential for some special moments during his appearance on June 16. Four Tet has previously played alongside the final night’s headliner Fred again.., so the potential for that guest spot alone might make it even more worth it to prioritize his performance. 

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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ASCAP has announced additional guest for this year's "I Create Music" EXPO, including Portugal. The Man, producer Nineteen85 and singer/songwriter Yuna. The songwriting extravaganza featuring everything from workshops to performances and networking sessions is set to take place May 2-4 in Hollywood, Calif. 

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">.<a href="https://twitter.com/portugaltheman?ref_src=twsrc%5Etfw">@portugaltheman</a> will perform at the 2019 &quot;I Create Music&quot; <a href="https://twitter.com/ascapexpo?ref_src=twsrc%5Etfw">@ascapexpo</a> (May 2-4 at LA&#39;s Loews Hollywood Hotel), joining a line-up that includes <a href="https://twitter.com/questlove?ref_src=twsrc%5Etfw">@Questlove</a>, <a href="https://twitter.com/wyclef?ref_src=twsrc%5Etfw">@Wyclef</a>, <a href="https://twitter.com/leeannwomack?ref_src=twsrc%5Etfw">@LeeAnnWomack</a>, among dozens of industry-leading music creators. Details: <a href="https://t.co/MbewgOhMfW">https://t.co/MbewgOhMfW</a> <a href="https://t.co/KeBBrKoPXI">pic.twitter.com/KeBBrKoPXI</a></p>&mdash; Shore Fire Media (@ShoreFire) <a href="https://twitter.com/ShoreFire/status/1118965754764906499?ref_src=twsrc%5Etfw">April 18, 2019</a></blockquote><script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

Portugal. The Man have signed on to perform as part of ASCAP's Annual Membership Meeting on May 2. The band earned their first career GRAMMY for Best Pop Duo/Group Performance at the 60th GRAMMY Awards last year.

Nineteen85, the GRAMMY-winning producer behind Drake's "One Dance", "Hotline Bling" and "Hold On, We're Going Home," is slated to join the We Create Music panel at EXPO, alongside previously annouced guests songwriter Anthony Rossomando, GRAMMY-winner Lee Ann Womack and film composer Pinar Toprak.

Yuna is a rising artist who has worked with the likes of Pharrell Williams, Usher and Jhené Aiko. She will participate in a conversation on the future of electronic music with her friend and collaborator, GRAMMY-nominated artist/producer TOKiMONSTA.

Additional previously announced participants like for this year's ASCAP EXPO include keynote speaker Questlove, as well as Wyclef Jean, Desmond Child, Victoria Monét, Leland, Matthew Koma, and Rossomando, and many more. 

For a full schedule of events, guests, and registration info, visit ASCAP's website.

Questlove Keynote & More Added To ASCAP "I Create Music" EXPO

The race to the 2018 Coachella Valley Music and Arts Festival is winding down as we're just one week away. With headliners The Weeknd, Beyoncé and Eminem leading the slate of more than 150 festival performers, Indio, Calif., will once again be the place to be throughout the next two weekends (April 13–15 and April 20–22).

Aside from the headliners, there are many artists fueling the pre-festival chatter. There's the Coachella debut of Yoshiki and X Japan; recent 60th GRAMMY nominees SZA, Cardi B, 6LACK, and Kali Uchis; the likes of Jamiroquai, St. Vincent, and Nile Rodgers & Chic; and family affairs in the form of Haim and Migos.

<blockquote class="twitter-tweet" data-lang="en"><p lang="und" dir="ltr"><a href="https://t.co/ivjHgj9uae">pic.twitter.com/ivjHgj9uae</a></p>&mdash; Coachella (@coachella) <a href="https://twitter.com/coachella/status/948346956362825728?ref_src=twsrc%5Etfw">January 3, 2018</a></blockquote>

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And that's but a small taste.

Are you making a roadie to the Southern California desert for the parties and music? Or will you be tuning in to Coachella via live stream? (According to Brooklyn Vegan, details on the stream are forthcoming.)

In either case, we want to know which 2018 Coachella performer you are looking forward seeing (or streaming) the most? Make sure to cast your vote in our poll!

Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs" ​