8 Essential Latin Electronic Releases: Songs And Albums From Bizarrap, Arca & More – The GRAMMYs

Photo: Omar Vega/Getty Images
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Electronic sounds can be heard throughout Latin music and will be recognized in a new Field and Category at the 2024 Latin GRAMMYs. In honor of the new Best Latin Electronic Music Performance award, read on for eight Latin electronic music essentials.
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 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. 
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, 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. 
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 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.  
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 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. 
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. 
7 Latin DJs To Watch In 2023: Gordo, Arca, The Martinez Brothers & More
Photo: Mike Formanski
interview
"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.
Moby’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play, the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night. 
Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon." 
Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago. 
Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc. The two films are produced by his production company, Little Walnut, which also makes music videos, shorts and the podcast "Moby Pod." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com. 
A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights. The narrative was broken up by acoustic performances of songs from Play, as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums. 
'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen? 
I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself?
The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.
That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift's favorite singers.  
Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you? 
What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special. 
You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?
I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of Play. We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish. She actually liked it. And I thought, Huh, that's interesting. I didn't think anyone was going to like this record. 
You didn’t feel anything different during the making of 'Play?'
I knew to the core of my being that Play was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was Backstreet Boys and Limp Bizkit and NSYNC; big major label records that were flawlessly produced. Play was made literally in my bedroom. 
I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."  
Was your approach in making 'Play' different from other albums? 
The record I had made before Play, Animal Rights, was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years. When it's good, it's paradise; it's really special. But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the most gentle thing, "I know you enjoy making punk rock and metal. People really enjoy when you make electronic music." 
The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f—ing idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results. But his response was very emotional and gentle and sweet, and that got through to me. I had this moment where I realized, I can make music that potentially people will enjoy that will make them happy. Why not pursue that? 
That was what made me not spend my time in ‘98 making an album inspired by Sepultura and Pantera and instead make something more melodic and electronic. 
After years of swearing off touring, what’s making you hit stages this summer? 
I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.  
My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins. 
Your DJ sets are great fun. Would you consider doing DJ dates locally? 
Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.
I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m.  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.
Are you going to write a third memoir at any point? 
Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times, lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 
It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.
 Machinedrum's New Album '3FOR82' Taps Into The Spirit Of His Younger Years 
 
 
Photo: Xavi Torrent/Redferns
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Barcelona’s illustrious city festival celebrated 20 years of big music moments at Parc del Fòrum. From Vampire Weekend to Troye Sivan, read on for nine unforgettable sets from Primavera Sound 2024.
Primavera Sound is known for its heavy-hitting lineup and even bigger surprise guests. The Spanish festival celebrated 20 years in 2024, and transformed Barcelona's Parc del Fòrum into a masterclass of genre diversity and LGBTQIA+ inclusivity. There, under mostly sun-soaked skies, a wide range of international and native acts lit up multiple stages from May 29 – June 2.
Primavera Barcelona always promises an eclectic mix of performances that showcase native Spanish talent as well as major international headliners to get the party going. However, it’s not just the massive talent that pulls in the crowd. While the mainstages were graced by American superstars  Lana Del Rey,  SZA and Troye Sivan, the festival’s line-up was elevated by the vibrant non-stop DJ stylings of rising Brazilian star Clementaum and the divinity of Arca — who was rightfully labeled "madre!" by a buzzed up Boiler Room x Cupra activation. 
Primavera Sound’s diverse lineup guaranteed a highlight for every kind of festival goer: from the dad rocker to the 20-something throwing themselves head-first into new music. The festival amped up the energy and was keen to ensure a safe space for all music lovers (including regularly signposting a pro-LGBTQIA+ "Nobody Is Normal" campaign). If you weren't in Barcelona to experience the magic happening at Parc del Fòrum, read on for nine highlights from Primavera Sound BCN.
Drawing on heavy doses of electronica, pop and techno, Venezuelan producer and DJ Arca’s unpinnable sound is exactly what made her sets unmissable. Arca set Primavera alight with two incredible sets: an early morning rave on the Amazon Music Stage on May 31, and a second, more intimate event inside Boiler Room x Cupra’s industrial set up on June 1.
The musician's Boiler Room set brought the club to Barcelona, weathering attendees through a humid thunderstorm with sweaty, fusion beats and remixes (Beyoncé, Lady Gaga and Zedd) that made her experimental anthems even more exceptional. 
Read more: 8 Essential Latin Electronic Releases: Songs And Albums From Bizarrap, Arca & More
We all love a bit of Spanish sunshine, but nobody seemed quite as home on-stage as Vampire Weekend. Having last played at the festival in 2008, the 16-year wait was well worth it with a set list doused with indie rock nostalgia and new bangers that kept the late-night crowd grooving.
It’s not easy to keep a mainstage crowd going on opening night (especially as the band faced some line-up changes for the festival) but Vampire Weekend's catalog-spanning performance rocked. They ran though hits "A-Punk, "Campus" "Oxford Comma," and new tracks ("Classical", "Gen-X Cops", "Connect")  from their new fifth album, Only God Was Above Us – a record which frontman Ezra Koeing described as "feeling perfect" on stage. 
No Vampire Weekend set is complete with some curveball covers. This year, to match the beat of their long-overdue festival return, the band kept things fresh with an incredible cover of Sbtrkt’s "New Drop, New York" performed against a smokey, dark red stage backdrop. Whether performing their own catalog, making surprise appearance alongside French rock band Phoenix  or dropping electric covers, Vampire Weekend prove they’re music more than hitmakers — they’re also a summer festival bucket list act too. 
Troye Sivan kicked off his mainstage set on Friday night dripping with innuendo. Replete with sexy outfit changes (including a pair of crotchless pants), effortlessly cool choreography and a very well-positioned mic in his pelvic region, the two-time GRAMMY nominee showed Barcelona that he not only has stadium-worthy tunes but is a stadium-worthy performer. Performing a medley of hits from his third studio album Something To Give You, Sivan's infectious pop tracks were perfectly timed to sexy and immaculately polished dance choreography (featuring his reliable backup dancer troupe of Simone Nolasco, Mauro van de Kerkhof, Benjamin Williams, Ainsley Hall Ricketts and Theo Maddix) against a campily creative set. 
The singer yearned alongside Spanish musician guitarricadelafuente on a silver silk bed as they duetted "In My Room," and belted out Ariana Grande’s "supernatural" in front of a mesmerizing anime video backdrop. Whether it was intimately crooning to synth-pop summer banger "Honey" or throwback hit "1999," Sivan was undoubtedly a mainstage highlight. As he wrapped up his set, the singer shouted out Barcelona's art and culture as an inspiration for Something To Give You. The Primavera performance was one of the biggest shows of his life, and closed this set with his anthem queer hit "RUSH."

Read more: Meet The First-Time GRAMMY Nominee: Troye Sivan On "Rush," The Importance Of Dance-Pop & The Spirituality Of Partying
Kitted out with tattoos, American flag-styled cargo trousers, a heather gray bikini top and chunky boots,  yeule is exactly as you see them: an uncategorizable phenomenon. While their set clashed with major alt-metal and indie acts Deftones and Pulp, yeule’s distorted, glitchy universe was more than immersive; it was an electronic, energetic undertaking that swept the audience away. Away from the main stages, yeule’s set felt like a charged techo-pop portal to their world of emotional, alt-rock tunes.
Shaped by everything from nu-metal, Avril Lavigne and My Chemical Romance, yeule sounds neither human nor computerized. Often conceptualized as being something of a "cyborg identity," yeule's music translates with a darkly alluring style onstage. They opened with the melodic "Electric" from their second studio album Glitch Princess, while the rest of the setlist beautifully emulated their recent album Softscares; an emotional futuristic electro-pop record. The musician’s punk rock inflected "cybermeat," "sulky baby" and "dazies" were highlights, pulling the crowd closer to the stage as well as new listeners in from nearby smaller stages. 
Performing against a flickering urban city backdrop illuminated the midnight sky, yeule's set created the perfect isolated, small-stage universe to hear their deafening screamo notes during "Bite My Neck" and the hauntingly mellow electro-rock closeout track "software update."
The Boiler Room x Cupra stage was the place to be this year. While the Parc del Fòrum never fails to pull together an eclectic mix of talent, Primavera Sound truly thrived in showing its ability to channel the club, ballroom and EDM into a live festival setting. There was never a set that didn’t bring the festival goers in glam outfits and the ultimate dance party vibes. However, the raging techno beats of Clementaum that most caught our attention.
Playing to a packed room with festival-goers tightly crammed in even behind her decks, Clementaum led a chant ("Vai Brazil!") as her country’s flag was proudly waved in the crowd.  Feeling more like a late-night rave, the Brazilian DJ had us thriving on deep beat drops and pummeling beats that you couldn’t help but dance to. Artfully skilled, Clementaum fuses Afro-Latin rhythms, ballroom culture and amped-up electronica for an incredible, heart-racing high.
The trance beat-packed El NICK DGO x Clementaum banger "Dale Pal Party" had everybody dancing, while a full-throttle remix of "Puttuna" pushed things into another level. However, her live rendition of "Pirigótika" (a track with Brazilian singer Bibi Babydoll) was her hallmark performance, and proved that if you haven’t heard of Clementaum, be sure this won’t be the last time you come across her name. 
There’s nothing Amaarae can’t do. Taking over the Amazon Music stage on May 30, the Ghanaian American Afrobeats musician can take on anything from punk to R&B. In Barcelona, Amaarae’s chameleonic talent showcases that no style (or genre) is too much for her to turn into a captivating set.
Amaarae proved that whatever mood she brings to stage, she devours, from effortlessly performing slow burner "Wasted Eyes" to silkily switching to "Disguise," a song of desire and domination, and segueing to alternative anthem "Sex, Violence, Suicide." 
Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More
Nobody throws a party like the ultimate "it" girl Charli XCX. From ranging pop bangers ("I Love It" to "Party 4 U"), the British pop star kept crowds dancing until 4 a.m. — and for good reason. While fans weren’t frightened away by heavy rain and thunderstorms during the festival’s final night, Charli XCX and her fans made Primavera’s final night one to remember. 
And, if you were lucky, you might’ve caught the star pull off an incredible surprise DJ set alongside co-collaborator A.G Cook, and finance The 1975 band member George Daniel. While the early announced pop-up set for her upcoming sixth studio album Brat fell just outside of the festival on Sunday, the sweaty beach-side crowd was packed with fans flocking from Primavera Sound to make sure they got their early hit of Charli XCX ahead of her mainstage set later that night. 
Following the breakthrough of her sophomore album Preacher’s Daughter, Ethel Cain has been on an unstoppable rise. A goth-pop mix of Lana Del Ray and heartland-style emo rock, the Tallahassee-born musician is crafting her own Americana aesthetic shaped by desire, death and South Baptist Christian influences.
While playing a late afternoon set, the singer stepped out under the blazing sun delivering incredible vocals to fan favorites "Crush’’ and "House of Nebraska." The singer’s set highlights were elevated by two things: a new song and a political call-out that broke the divide between the festival crowd and on-stage artist. Dressed in a ‘Free Palestine’ t-shirt and with a keffiyeh hanging from her mic, the musician denounced genocide and advocated for the people of Gaze before launching into her viral anti-pop song, "American Teenager." 
Amidst her anti-war advocacy, the singer also slotted into a somber new song "Amber Waves," showcasing her penchant for eerie melodies and what fans can expect on her currently untitled upcoming project. 
Learn more: 15 LGBTQIA+ Artists Performing At 2024 Summer Festivals
Whether it’s the instantly recognizable intro to "Good Days" or the viral rotations of "Kill Bill," SZA has long been dominating and driving contemporary pop and R&B. The GRAMMY winner highlighted her artistic versatility with deep cuts and chart hits (including those from her massively popular sophomore album SOS) to a packed mainstage crowd.
With a stage set designed to look like a ship, SZA was amplifying the message of SOS loud and clear – with hits, charismatic stage movements and impressive vocals to match. And, she didn’t stop there. From knife play routine to "Kill Bil" to full-throttle Miley Cryus-style and riding an anchor to dropping the splits mid-set, SZA gave a performance that continuously raised the bar. 
Read more: How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen
Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More
Photo: James King
feature
For his 15th album, Machinedrum drew inspiration from his early productions and ventured into the Joshua Tree desert. There, he collaborated with Tinashe, Mick Jenkins, Duckwrth and more, alongside his longtime friend and collaborator Jesse Boykins III.
“If you were able to go back and hang out or collaborate with your younger self, what would you say to them? What advice would you give them?”
That question fueled Machinedrum’s new album, 3FOR82, out May 24. 
Unlike most people, the prominent electronic producer, real name Travis Stewart, has a direct line to his younger self through the music he’s made. He still has hard drives with productions from his teenage years, and on his new album, he sought to create with that same spirit. He wanted to hang with his younger self who was nothing but a kid who loved music with big dreams.
“In that early period where everything is just so free, there's nothing like it,” Stewart said. “I think, as creatives, we all try to find different ways to tap back into that.” 
By tapping back into that freedom, Stewart made 3FOR82 into a diverse and exciting body of work. On his 41st birthday (the album title 3FOR82 reflects Stewart’s birthday of March 4, 1982), he started exploring his older recordings, collaborating with his younger self. The result is an album that is more than the sum of its parts. Weaving a wide palette of genres together, including alternative hip-hop, drum & bass, and UK garage — along with a long list of collaborators — it has an experimental hunger to it as well.
Stewart worked with more vocal collaborators than on any past album, featuring artists including Tinashe, Mick Jenkins, and Topaz Jones on 11 of the 12 tracks. With this stronger external input, each track has a unique identity. While “HON3Y,” the only solo production, harbors Stewart's talent for erratic sonic motion, “KILL_U” with Tanerélle is a minimalist soul tune.
Clearly, when Stewart was just starting he wanted to make anything and everything. He started releasing music as Machinedrum in 2000. Since then, he has shared 15 albums and launched various aliases including Tstewart, his atmospheric side project, J-E-T-S, the club-focused collaboration with the respected house artist, Jimmy Edgar, and Sepalcure, his duo with Praveen Sharma that focuses on dubstep and UK garage.
After so much experience, he knows the music industry very well. The good parts and the bad. 
“Once you've released a few projects, this new pressure comes along with what your fans expect from you,” Stewart said. Conversely, his early recordings offered a window into an era without any pressure or expectations. 
Read on to learn more about where he found the biggest inspiration when he took a trip down musical memory lane during the making of 3FOR82. 
Every artist has to start somewhere, and Machinedrum started with Impulse Tracker, the music production software released in 1995. Stewart is now using industry-standard programs like Abelton, but when he was using Impulse Tracker during his early days, his music was imbued with a kind of youthful optimism that only comes when you’re starting something new. 
"For me it was going into these old Impulse Tracker sessions and finding these little nuggets of ideas that I didn't really know what to do with at the time."
When he was working in Impulse Tracker, he only had the skills to make cursory musical ideas, but when he listened back he was really proud of those ideas. “I was just so excited about music. Not to say that I'm not now, but when I listen to electronic music now, I can't help but think about how it was made. Think about what kind of numbers they're doing. Who produced it? What label released it?” Stewart said. “Whereas back then, I would listen to things for the pure sake of listening to them and just be so inspired.”
Stewart often suffers from what he likes to call “choice paralysis.” If there are too many options it can be difficult for him to make a decision. Well, music production presents endless choices. How much reverb to use? Whether or not to use samples? What plugins will make this track sound its best? So, when he was making 3FOR82 he laid down specific parameters to limit his choices.

First, he was only allowed to use sounds that he drew from his Impulse Tracker recordings. He spent a month going through the old pieces of music and created a sound library from them. Those sounds became the album. “That whole process of creating the sound library was incredibly inspiring. Being a digital archaeologist,” Stewart said.

He had two rules if he wanted to sample something outside those old files. One, he had to run the sound through Impulse Tracker so it maintained the same aesthetic. Two, he had to sample music from his birth year of 1982.

“That was one of the parameters that actually made it a lot of fun to explore what music came out the year of my birth and see what things resonated with me. I was finding a lot of interesting synchronicities of stuff that I didn't realize came out in 1982 that I'm actually a huge fan of,” Stewart said. 
Plenty of artists have found musical inspiration in the vast deserts of Joshua Tree National Park. Josh Homme founded The Desert Sessions there back in 1997. RÜFÜS DU SOL recorded their live album, aptly titled Live From Joshua Tree among the desert rocks in 2019. Now Machinedrum has joined the musical legacy of Joshua Tree by making 3FOR82 there as well.

He always had a great time there when he visited with friends and family in the past, but he also found a profound sense of clarity during those trips.

“Ideas come to me. I just feel so separated from the chaos of the world,” Stewart said. “I had always wanted to come to Joshua Tree for the pure reason of doing something creative.”

He set up a mobile studio in an Airbnb and invited myriad guest artists to join him in this temporary creative atmosphere and share in the clarifying experience.
Jesse Boykins III is a vocalist who has collaborated with Stewart since the 2000s. He was also a groomsman at Stewart’s wedding. When Stewart was out in Joshua Tree, he spent an hour on the phone with Boykins discussing his idea of revisiting the past to make the album. During that conversation, he realized their long history together could further fuel the creative process.
Stewart made Boykins a co-executive producer, and Boykins brought in numerous vocalists Stewart had never worked with such as Duckwrth and aja monet. Stewart instructed Boykins to find seasoned artists when he was courting collaborators so they could bring their own past into the music. 
He asked each of the collaborators the guiding question at the beginning of each session: “If you were able to go back and hang out or collaborate with your younger self, what would you say to them? What advice would you give them?”
Sometimes Stewart sampled their responses and added them to the music like with Mick Jenkins’ track, “WEARY.” Other times, the question was meant to inspire trust between Stewart and the collaborators Boykins introduced to him.

“Just having him there, understanding the concept behind the album, and making sure that we're all keeping within the theme, whether literally, or in more of an abstract way, that was super important,” Stewart said of Boykins. “I'm super grateful for his involvement on the album and all the inspiration he gave me. Being there along my side throughout the process. It's very cool working like that with someone. I had never done that with an album in the past.”
When Stewart was producing 3FOR82 from songs he made as a teenager it was just as spiritual for him as it was technical. During those early years as an artist, Stewart felt very isolated. There was no community around the music he loved growing up in North Carolina in the 90s. Even when his preferred sounds migrated from the UK to the US, it was in cities like Miami and New York, far away from him. In his loneliness, he struggled to believe his dream of being a professional electronic musician was possible.

Well, over two decades later, Stewart has accomplished his dream and then some. By working with music from his past, he was assuring his younger self that everything was going to be OK. “This whole process of collaborating with my younger self on these new songs was so healing for me. It was like a way of me sending a message to my younger self. ‘You're gonna do all these amazing things. You're going to travel the world. You're gonna work with amazing artists. So keep your chin up. Don't worry so much about the future.  Just keep going. Keep doing what you're doing,’” Stewart said.
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Photo: Kito Muñoz
interview
Both honest and brash, Nathy Peluso's first album in four years is the culmination of therapy and deep musical work. "It’s important to bring that energy to the music, like, rude, strong, dangerous," she says.
Those who follow underground Spanish music have known the name Nathy Peluso for a while, but in 2020 the Argentine-Spanish artist came to the attention of a broader audience. That year,  the rapper and singer released her official debut album Calambre, which won a Latin GRAMMY for Best Alternative Album and received a GRAMMY nomination for Best Latin Rock or Alternative Album in 2021. 
Four years later, Peluso is back with Grasa [Grease]. Out May 24, the 16 track follow-up is simultaneously bolder, more vulnerable and more revealing than its predecessor, crystalizing the artist's iconoclastic and often cinema-inspired vision.
At Legacy Records, a hotspot for haute Mediterranean fare in Manhattan's Hudson Yards neighborhood, Nathy is draped in an oversized blazer and pants. She looks like a relaxed, elegant CEO and the style becomes her, especially as she balances it with ultra-feminine touches. Today, its long nails tipped in fire-engine red.
Her fashion choices are as pointed as her manicure, on and off stage. In the recent video for "Aprender a Amar," she raps ferociously into a mirror, sharply dressed in a pin-stripe tie, a jacket with exaggerated shoulders, and delicate black lace gloves. These sartorial choices ask, Why settle for a mob-wife aesthetic when you can be a don yourself?
Both visually and aurally, Nathy Peluso is part cinematic diva and part underworld kingpin, with a fair amount of Missy Elliott swagger. Her tough, independent persona was on full display on her now-multimillion streamed 2020 Bizarrap session, which smoldered and crackled with her bombast. It was fully formed on "Business Woman," from Calambre, and returned with a roar on her 2021 single "Mafiosa," a high drama salsa track.  
Her powerful energy is pure hip-hop in steel-toe Timbs, but she performs with the generous spirit of a burgeoning pop star ministering to a big house of fans. On Grasa, Nathy Peluso brings humanity to her braggadocio. This doesn’t stop her from picking up the mafia saga where she left off on Calambre. The opening track is titled "Corleone." 
Ahead of the release of her first album in four years, Nathy Peluso spoke with GRAMMY.com about overcoming creative burnout, taking inspiration from mob movies, and the true meaning of "grasa."
This album is more personal than your previous releases. What led you to open up more lyrically?
I think it just happened because I am growing. I am learning and I need to tell my truth. The way for me to do that is music. It’s been four years, but, when the moment came, I was ready.
Speaking of four years ago, 2020 was a very big year for you. A lot happened. What are your most vivid memories from that time?
Calambre was the moment. It was really special for me. Winning the GRAMMY was the moment, and then touring with that album was an amazing learning experience for me. I grew up on the stage. 
I grew up as a woman, as an artist, as a performer, maybe as a lover too. You are traveling around the world with so much pressure. Physically, it was a difficult show. I was alone on stage, with my musicians, but no dancers. It was a challenge. 
I grew up in so many ways, but when I finished that tour I was broken. My soul was broken. I was empty. I started looking for myself. It was very tough. 
It sounds like you were experiencing creative burnout.
Yes, my brain was broken, but it was necessary in order to start again. I did an album then, but I decided not to go with that album and to start again. So, it was a very long path. 
You wrote a whole album and then discarded it? What wasn’t working about it?
It was working, but it wasn’t the feelings I wanted to share and the music I wanted to share. Sometimes there are projects whose purpose is just to learn from. It was a process of learning for me. That was a very special moment. 
You start feeling like a failure, but no. It was necessary to go through that to get to Grasa. The things I learned were exactly the things I needed to know to then make this music. 
So, how did you overcome this period of burnout and get to the point where you were feeling creative again?
A lot of therapy. A lot of working on my s— and confronting it.
Is there one song on Grasa that is more intense to perform, or more emotional for you than the others?
"Envidia" is talking real s—. Things happen around you and you need to know who you are and what your intention is. You have to be focused on what you want to bring to the world and not care about anything besides your craft. People are going to talk. Things are going to be crazy. You’ve got to know your choice, your path.
Can you tell me about the song "Corleone"? How do gangster movies inspire you?
I have a song called "Mafiosa." It’s a character I love to perform and I see myself in that character. It’s relatable. The mafia have codes that represent me — not everything [laughs] — but, you know, the family, the legacy, working hard, respect. That kind of feeling in music, in cinema, is what I was looking for. I love the aesthetic. I love Tarantino. I love Tony Montana, the character. On stage, I feel like him sometimes. 
I love for a woman to be that type of character. I think it’s interesting. Usually, those kinds of feelings in music or cinema are represented by men. It’s always that way in salsa. If you look at Celia or Gloria, they were always more romantic. Maybe La Lupe was dangerous. For me, it’s important to bring that energy to the music, like, rude, strong, dangerous. Be careful, bitch!
What were some of your specific musical influences while working on this album?
Always folklore and roots, salsa and bolero, but then I was paying attention to Kendrick Lamar and Kanye West. They are a big inspiration for me. 
How do you bridge the gap, or find the connections among your different influences?
I don’t even know. I just do music, really. I go to the studio and I start singing. I just feel it.  I go to the studio, and suddenly I want to sing, and I want to cry. And then another day, I feel powerful and I want drama and aggressive stuff. It’s very honest. The starting point is always the way I feel.
Is it important to you to make music that empowers other women?
Yes. For sure. But it wasn’t ever a strategy, like, "I want to do music for empowering women." I just did my music without direction. Then I discovered people were feeling the power and using it. I feel inspired by that, but it wasn’t the point. 
What does the word "grasa" mean to you?
I chose that word because it’s the strongest word. It’s dirty. It’s funky. But it’s a word that, at least in Spanish, has a lot of meanings. So, I want people to choose the meaning. After listening to the album, you can choose the meaning and maybe redefine it with the album.
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