This year’s Grammy Awards, which took their position on Feb. 2 in Los Angeles, marked the 67th episode of the annual awards ceremony. However, the most productive dance/electronic categories are new.
In 1998, the remarkable Rito Award presented the most productive dance / electronic recording, which makes this year the 27th time awarded the award. It is not until 2005 that the most productive dance / electronic album added. The artists who won Grammys for the most productive dance / electronic categories come with Donna Summer, Giorgio Moroder, Skrillex, Diplo and Dua Lipa. Recently, in 2024, the Recording Academy added the Grammy Award for the most productive pop recording of dance in an effort to combat in opposition to a long -standing challenge where pop artists of dance opposed those who make music of more original dance. In this article, the most productive dance / electronic categories are basically tested because they constitute many types in the dance music panorama instead of one.
This year’s nominees for Best Dance/Electronic Recording were:
Disclosure – “She is gone, Dance”
Four Tet – “Amado”
Fredary. and Baby Keem – “Leavemealone”
Justice and Tame Impala – “Neverender”
Kaytranada (feat. Childish Gambino) – “Witchy”
Justice and Tame Impala took the accolade for their track, “Neverender.”
The nominees for this year for the dance / electronic album were:
Charli XCX – Brat
Four Tet – Three
Justice – Hyperdrama
Kaytranada – Timeless
Zedd – Telos
Charli XCX Coronó winner this year.
So what does all this mean for dance music?To perceive what this tells us about the existing landscape of the genre, it is mandatory to unpack the recordings themselves.
The five songs nominated this year are very different from others. The space track “She’s Gone, Dance On” faces audiphile Italian past of 278. These sounds, in total, create an atmosphere of edifying sound. “She left, dance in” it looks like a summer. It seems to drive with the best most sensible day. It seems the dance field with your friends, and that is precisely what happened with Taylor Swift and Travis Kelce when Dom Dolla left the track in Coachella last year, which makes the computer virus viral.
“Loved” by Four Tet is the complete opposite. It begins with isolated drums, followed by soft tones. Then twinkling synths enter before gentle, whimsical soundscapes come into the listener’s ear. Dark and crackling tunes take center stage, taking over the rest of the sounds. The record then continues to build on its masterful production. The song is welcoming, dreamy and full of beauty, keeping in step with Four Tet’s style of creating music that is texturally varied, experimental and abstract.
On the contrary, Fred’s “Leavéménéale” again. and Baby Keem is a radiator, who makes other people bewitch as difficult as possible. He weaves a varied tapestry of sounds, including floating synths, dance-ready basslines, and rap vocals stacky, replenished, and repurposed from his 2021 song “Bullies” Bullies” and the album “South Africa. “”LeaveMealone” is a song aimed at a club, warehouse, or music festival, bringing all the live music spaces to dance music.
“Neender,” jointly produced through the trial of Pass On and the Apala Tame, is the first piece from the former 2024 studio album Hyperdrama, which was also nominated for a Grammy this year. The layers of disco record influence taming the voice of Impala’s dreams with arrow, elegant and production-inducing. Tame Impala has already been nominated for 3 Grammys, with “Hudden” securing his first win. The French duo has already been nominated for seven Grammys, so they scored two wins.
The most recent nomination for the “Witch” of Kaytranada and starring Childish Gambino. kaytranada, known for fusing the classic hyp -hop and R
Much like the recordings, the albums also prove diverse as they represent numerous genres within the broad spectrum of dance music. Take Charli XCX’s Brat album, for instance: the 15-track body of work has been described by the singer and songwriter as a “club record,” adding that she believes she was “born to make dance music.” Although described as a club record, Brat boasts much more than that one style. The album seamlessly flows through different moods, touching on vulnerability, insecurity and, most importantly, true brat mentality. Overall, it is certainly an LP created for the club.
On the contrary, 3 to 4 TFW adopt another approach. While it can play everything, from melodic melodies that give a feeling of preference to the elimination of “country Riddim” in Coachella, the LP is a reminder that it is a company to stay faithful to its distinctive sound. DIY melodies, extremely cheerful rhythms, percolation sounds, charming production, celestial sound landscapes and more are heard in the long work. Try it acclaimed years ago.
Hyperdrama shows that the dynamic dance duo can go beyond genres while reaching their signature sound. Regardless of the style, Hyperdrama is undoubtedly a legal album. The thirteen-way frame showcases the project’s ability to load funk, space, and disco fundamentals into metal, metal, indie, and new.
It’s soft. He is carefree. It’s sensual. Everything, in total, Kaytranada, the timeless proves to be masterfully produced, marking a successful album through Sonic Storyteller. The record is built for the dance ground but also for cooling at home. Three, Tinashe, Anderson. Paak and Childish Gambino. Despite the other styles that those collaborators bring to their respective songs, the album is cohesive in sound.
Zedd hadn’t released an album for nine years, but the one he replaced in 2024. His purpose with Telos, his third studio album, to create anything timeless. The LP is part organic, part orchestral, and part electronic, a dramatic replacement for their previous two albums, which can be classified as an EDM. Telos is full of collaborations, especially with John Mayer, Muse, and Jeff Buckley.
Now, we break it down.
Impala justice and damage prevailed in the registration category for “Neenden” are to have an effect on justice on dance music. The career of the illustrious duo presents the aggregate of the French touch with other genres, such as indie, rock, house and electroclash. “Neender” is another impressive piece of flexion of the genre through the duo, because it combines its taste with the psychedelic touch of Tame Impala. The skill of justice to slide and get out of genres shows its wide attraction as sound designers.
And that is precisely the point: its wide attraction, especially when you go up in the mixture.
Monterrey, Mexico – April 23: Gaspard Age, Xavier de Rosnay de Justice, French electronic music duo, a concert of the Citibanamex auditorium occurs on April 23, 2024 in Monterrey, Mexico. (Photo through media and average / getty images)
Justice’s 2025 tour is stopping in 15 countries, and it’s nothing short of a big deal. Take their sold out two-night run in New York City in 2024, for instance. People were lining up to get into the show as early as 8:30 p.m., even though the show started at 10 p.m. and the French duo didn’t get behind the decks until 1 a.m. Justice is undeniably one of the greatest and most influential acts within dance music.
Tame Impala is equally famous in his own regard. The Australian one-man band is known for selling out stadiums and headlining some of the world’s biggest music festivals. In addition, he has millions of Spotify listeners and billions of streams on the music platform. As of February 4th, 2025, he is listed on Spotify as the 203rd most popular artist in the world.
Having Justice and Tame Impala on one record certainly makes for a superstar collaboration. When compared to the four other nominees in the recording category, “Neverender” not only has the broadest appeal sonically to listeners, but it also features two artists who can be argued as the most famous of the bunch.
When looking at the album category, the situation is similar as Charli XCX appeals to the most number people. She, like Justice and Tame Impala, caters to numerous genres, allowing her to cast a wider net of fans when compared to the other nominees for the category.
So, why does this matter?
LOS ANGELES, CALIFORNIA – FEBRUARY 02: (FOR EDITORIAL USE ONLY) Charli XCX performs onstage with influencers Gabriella Wright, Harrison Patrick Smith, Richie Shazam, Gabbriette, Julia Fox, Greer Cohen, Salem Mitchell, Quen Blackwell and Alex Consani during the 67th GRAMMY Awards at Crypto.com Arena on February 02, 2025 in Los Angeles, California. (Photo by JC Olivera/WireImage)
It matters because it shows how, historically, particularly in the recording category, only artists considered at the top of the “underground” have claimed the title. The word “underground” is used very loosely here because this includes producers such as Daft Punk, Chemical Brothers, Basement Jaxx, Jamie xx and Kraftwerk—none of whom are underground. They are quite the contrary because those not familiar with dance music can agree that they are acclaimed.
While the Best Dance/Electronic Recording category has represented the true underground by nominating Fatboy Slim, he is still a very renowned name within dance music. When it comes to the best album category, Louie Vega was once nominated, and it may be argued that he is a better representation of the underground than Fatboy Slim. But despite the representation of the “underground” and the real underground, pop always prevails. (It’s important to add that the real underground includes many artists of color, and diversity has historically lacked at the Grammys, but that is a separate discussion).
When you have artists like Lady Gaga, Madonna, Beyoncé, Cher, Justin Timberlake and Britney Spears on the lineup, it’s hard to compete, with the argument being that a winner may be chosen based on how commercially successful the record is. This is why a separate category, Best Dance Pop, was created for recordings last year. Mixmag reports that the Dance/Electronic screening committee voted Beyoncé’s “Break My Soul” out of the category for the 2023 Grammys, deeming it was better suited under Pop, but the national screening committee, the second and final committee to vote, put it back in Dance/Electronic. Even now with Best Dance Pop, artists from that category can be nominated for Best Dance/Electronic Album since Best Dance Pop Album doesn’t exist. This is what happened this year with Charli XCX as she was represented in Best Dance Pop Recording and Best Dance/Electronic Album—straddling the two categories.
If pop-leaning dance albums have historically won, so much so that a new category had to be created, then is it fair for pop dance albums to be put up against dance albums? That, I believe, depends on the album. For Charli XCX, I think her LP did indeed deserve that spot. In addition, I don’t see the other artists’ records as club-ready for the dance music space.
Los Angeles, CA – February 2, 2025: Charli XCX, winner of the Best Dance Pop Recording Award for “Von Dutch,” at the 67th Grammys Awards held at the Crypto.com Arena in Los Angeles, CA Sunday, Feb. 2, 2025. (Jason Armond / Los Angeles Times via Getty Images)
It’s important to note that I am not saying that Charli XCX’s Brat and “Neverender” by Justice and Tame Impala won on a popularity vote. Mentioning their broader appeal is historically relevant because it shows what kind of artists the Grammy committee considers worth nominating, which appears to be partly based off how familiar the general population is with the artist. Should an award show be for the hit tracks of the year, or should it be about what it has done for the genre? It is undeniable that Justice has had a major impact on dance music (once again, they do deserve their award), but have other nominees in the past done the same for the genre? I don’t think that can be said for artists like Justin Timberlake and Britney Spears as their influences have been within the world of pop and not dance. Hence, why a new category had to be created.
If the new category had not been created, 4 TFWS would have been nominated for any of the categories this year and that Aphex Twin would have been nominated for the best dance/electronic recording last year? It is difficult to say, especially when you consider that the last one won the most productive dance/electronic album in 2015. But experimental and avant -garde music that demands situations and pushes the level ahead did not become the awards ceremony. But do you deserve that Grammy are about it? Should producers characterize in advance, or at least establish what is recently happening on the scene?
London, England – October 23: Kieran Hebden, aka Cuatro Tet, in “The Common Good and NTS Present: in Syria Relief UK” in Styx on October 23, 2015 in London, England. (Photo by Matthew Baker / Getty Images)
Looking at what’s recently popular in dance music, there are genres that haven’t made the cut. For example, hard techno and melodic techno are exploding right now, yet those artists were not nominated. This means that his music produced Grammy criteria or that he is not as widely identified across the general population. I think the latter.
It’s not that the Grammys are completely fake in naming artists in the most sensible of charts. Brat and “Hudden” are masterful recordings that deserve their distinctions, yet the nominees don’t constitute what’s happening on the scene (and many nominees tend to be white men, but the lack of constitution for the Grammys’ marginalized teams is another item).
What the Grammy have since 2023 is that the reign of crossover acts.
READING, ENGLAND – AUGUST 24: (EDITORIAL USE ONLY) Fred Again performs live on the main stage during day two of Reading Festival 2024 at Richfield Avenue on August 24, 2024 in Reading, England. (Photo by Simone Joyner/Getty Images for ABA)
Beyoncé won both categories in 2023, showing the power of a pop star entering the club music space. Fred again.. won in the album category and was one of the artists on the track that won for recording in 2024, with the former being more notable to this article as he fuses live instruments with dance music. This year’s winners, as previously explained, transcended genres. Is the Grammys right in telling us that crossover music has been popular within the genre the last few years? Actually, yes.
From the pandemic, more other people have entered the Global of Dance Music, which is partly attributed to the repressed request to withdraw after blocking. There have also been other people who entered the scene due to the explosion of artists such as Fred Backarray. , Known for fusing live tools with dance music. This year’s winners have the same strength that are successful in the enthusiasts of many musical spaces.
So what does all this mean? This means that Cross Music is a component of the discussion regarding what’s happening in dance music recently. But is that the total conversation? I don’t think so.
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