This year’s Grammy Awards, which took their position on February 2 in Los Angeles, marked the 67th awarding of the annual awards exhibition. However, the most productive dance/electronic categories are new.
In 1998, the famed award ceremony introduced Best Dance/Electronic Recording, making this year the 27th time the award has been given. It wasn’t until 2005 that Best Dance/Electronic Album was added. Artists who have won Grammys for the Best Dance/Electronic categories include Donna Summer, Giorgio Moroder, Skrillex, Diplo and Dua Lipa. Recently, in 2024, the Recording Academy added the Grammy Award for Best Dance Pop Recording in an effort to combat a long-standing issue where dance-leaning pop artists were up against those who make more authentic dance music. In this article, the Best Dance/Electronic categories are primarily examined as they represent numerous genres within dance music’s landscape as opposed to one.
This year’s nominees for dance/electronic recording were:
Disclosure – “She has gone, dancing”
Four Tet – “Aimé”
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.”
This year’s nominees for Dance/Electronic Album were:
Charli XCX – Brat
Four Tet – Three
Justice – Hyperdrama
Kaytranada – Timeless
Zedd – Telos
Charli XCX was crowned this year’s winner.
So what does everything mean for dance music? To perceive what he tells us about the existing landscape of the genre, it is 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, “Leaveménéle” by Fred again. And Baby Keem is a radiator, which makes other people bewitch as difficult as possible. Weave a varied tapestry of sounds, which includes floating synthesizers, low lists to dance and rapid rap voices, reconidates and reused of his 2021 song “Bullies” Bullies “” and the album “South Africa”. “Leavemealone” is a song Aimed at a club, warehouse or music festival, which carries all live music spaces to dance music.
“Neverender,” jointly produced by Justice and Tame Impala, is the opening track from the former’s 2024 studio album, Hyperdrama, which was also nominated for a Grammy this year. The disco-influenced record layers Tame Impala’s dreamy vocals with soaring, smooth and groove-inducing production. Tame Impala has previously been nominated for three Grammys, with “Neverender” securing his first win. The French duo has previously been nominated for seven Grammys, for which they scored two wins.
The last nomination for the category is “Witchy” by Kaytranada and featuring Childish Gambino. Kaytranada — known for fusing traditional hip-hop and R&B with dance music — brings his signature silky, sultry and groovy production, while Childish Gambino comes in with sublime singing. The tune proves to be a masterclass in taking two different music styles and making a cohesive song.
Like recordings, albums are also varied because they constitute many genres in the wide diversity of dance music. Take the brat album through Charli XCX, for example: the framework of 15 tracks from the paintings described through the singer and composer as a “club of the club”, and adds that she believes that she “was born to make dance music” . Although described as a club recording, boasting much more than this style.
On the contrary, 3 consisting of 4 tets adopt another approach. Although it can touch everything, melodic songs that give a feeling of preference to the suppression of “country riddim” in Coachella, the LP remembers that it is a company to remain faithful to its distinctive sound. DIY melodies, extremely cheerful rhythms consisting of collection sounds, charming production, celestial sound landscapes and more are heard in the long game. In fact, 3 show audiophiles that, even if 4 tet continues to innovate its production, remains faithful to the flavor that acclaimed him years ago.
Hyperdrama shows that the dynamic dance duo can go beyond genres while reaching its exclusive sound. Regardless of the style, Hyperdrama is undoubtedly a legal album. The thirteen framework shows the ability of the project to load foundations of funk, space and disk in metal, metal, indie and new.
It is soft. He is carefree. It is sensual. In total, Kaytranada Timeless turns out to be produced masterfully, marking a successful album through Sonic Storyteller. The disc is built for the dance field but also to cool at home. It presents several impressive collaborators, adding Channel Tres, Tinashe, Anderson. Paak and Childish Gambino. Despite the other styles that these collaborators contribute to their respective songs, the album is cohesive in sound.
Zedd hadn’t released an album in 9 years—but that changed in 2024. His goal with Telos, his third studio album, was to create something timeless. The LP is part organic, part orchestral and part electronic—a dramatic switch from his two previous albums, which one could categorize as EDM. Telos is full of collaborations, most notably with John Mayer, Muse and Jeff Buckley.
Now, let’s break it down.
Justice and Tame Impala prevailing in the recording category for “Neverender” proves Justice’s impact on dance music. The duo’s illustrious career features them blending their French touch with other genres, such as indie, rock, house and electroclash. “Neverender” is another impressive genre-bending track by the duo, as it combines their style with Tame Impala’s psychedelic flair. Justice’s continued ability to slip in and out of genres shows their broad appeal as sound designers.
And that’s precisely the point: its broad appeal, especially when you bring Tame Impala up in the mix.
Monterrey, Mexico – April 23: Gaspard Auge, Xavier de Rosnay de Justice, French electronic music duo, performs at the Citibanamex Auditorium concert on April 23, 2024 in Monterrey, Mexico. (Photo via Media & Media/Getty Images)
The 2025 justice excursion stops in 15 countries, and is nothing less than the big problem. Take your purchase career of two nights closed in New York in 2024, for example. People were aligning to enter the screen from 8:30 p. m. , even if the screen began at 10 p. m. And the French duo does not take the bridges before 1 hour.
Tame Impala is as indicated. The Australian band UN-Man is known for promoting stadiums and leading some of the world’s largest music festivals. Of February 4, 2025, it is indexed in Spotify as the 203rd maximum artist in the world.
Obtaining justice and tame impala in a de facto registry makes a superstar collaboration. scored from the group.
Looking at the album category, the scenario is because Charli XCX calls the largest number of people. She, like Justice and Harm by Impala, is aimed at many genres, allowing her to release a wider fillet of enthusiasts compared to other nominees for the category.
So, why does this matter?
Los Angeles, CA – February 2: (Only for editorial use) Charli XCX plays at the level with the influencers Gabriella Wright, Harrison Patrick Smith, Richie Shazam, Gabbriette, Julia Fox, Greer Cohen, Salem Mitchell, Quen Blackwell and Alex Consana 67 Grammy Grammy Awards at Crypto. com Arena on February 2, 2025 in Los Angeles, California. (Photo through 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 most productive category of dance/electronic recording represented the genuine subway through naming Fatboy Slim, it is still a very familiar call in dance music. When it comes to the most productive album category, Louie Vega was nominated, and that is, he is a greater representation of the subway than Fatboy Slim. But despite the representation of “clandestinity” and the genuine underground, pop still prevails (it is vital separate discussion).
When you have artists like Lady Gaga, Madonna, Beyoncé, Cher, Justin Timberlake and Britney Spears in the alignment, it is difficult to compete, the argument is that a winner can be selected based on how well the record is achieved. That is why it is why a separate category, Best dance pop, created for recordings last year. Mixmag reports that the Dance/Electronic Projection Committee chose “Beyoncé’s Break My Soul” To vote, replace it in dance/electronic. . That is what happened this year with Charli XCX, since it represented in the best pop dance recording and the best dance/electronic album, heading any of the categories.
If Pop-Aianing dance albums have traditionally won, so much that a new category had been created, is it fair that pop dance albums are opposed to dance albums? That, I think, depends on the album. For Charli XCX, I think his LP deserved this place. Also, I do not see the albums of other artists such as the Club for the Dance Music space.
Los Angeles, CA – February 2, 2025: Charli XCX, winner of the Best Dance Pop Recording Award for “Von Dutch”, in the 67th Grammys Awards held at the Crypto. com Arena de los Angeles, in California, on Sunday 2 February. 2025. (Jason Armond / Los Angeles Times Getty Images)
It is vital to keep in mind that I am not saying that Charli XCX and “Hinden” of Justice and the Impala apple won a vote in popularity. Mentioning its broader charm is traditionally applicable because it shows what kind of artists the Grammy Committee considers the penalty of being designated, which is based on the way the general population is familiar with the artist. Should an praise exhibition be the successful clues of the year, or to deserve to be in what he has done for gender? It is undeniable that justice had a primary effect on dance music (once again, they deserve their prize), did other applicants do the same for gender? I don’t think you can say for artists such as Justin Timberlake and Britney Spears because their influences have been in the global pop and not dance. Therefore, why a new category had to be created.
If the new category had not been created, 4 TET would have been nominated for the two categories this year and there would be Aphex Twin nominated for the most productive dance / electronic recording last year. It is difficult to say, especially when we consider that the latter won the most productive dance / electronic album in 2015. But experimental and avant -garde music that challenges and pushing the scene has not been constituted during the awards ceremony. But do you deserve that Grammy is about it? Should he assign avant -garde producers, or at least constitute what is happening on the scene?
London, England – October 23: Kieran Hebden, also known as four tet, plays in “The Common Good and NTS presents: in Syria Relief UK” in Styx on October 23, 2015 in London, England. (Photo through Matthew Baker/Getty Images)
Looking at what is recently popular in dance music, there are genres that have made the cup. For example, the hard techno and the melodic techno exploit at the moment, however, those artists were nominated. Does this mean that your music occurs according to the Grammy criteria or that it is so widely identified through the general population? I think the last.
It’s not that the Grammys is entirely wrong in nominating artists topping the charts. Brat and “Neverender” are both masterful records that deserve their accolades, but the nominees don’t always represent what is happening in the scene (and many nominees tend to be white men, but the lack of representation for marginalized groups at the Grammys is another article).
What the Grammys has been telling us since 2023, though, is that crossover acts reign.
Reading, England – August 24: (Only Editorial Use) FRED The main day of the Day of the 2024 Reading Festival in Richfield Street on August 24, 2024 in Reading, in Reading, in England is once again. (Photo by Simone Joyner / Getty images for ABA)
Beyoncé won the two categories in 2023, appearing the strength of a pop star that enters the club’s musical space. Fred Againarray. He won in the album category and one of the artists in the song he won to record in 2024, being the first most notable for this article while merging with live tools with dance music. This year’s winners, as explained above, transcended the genres. Has Grammys tell us that Cross Music has been popular in genre in recent years? In fact, yes.
Since the pandemic, more other people have entered the Global of Dance Music, which is partly attributed to the pent-up 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 merging live tools with dance music. This year’s winners have the same strength that they succeed in enthusiasts of many music spaces.
So what does all this mean? This means that Cross Music is a component of the discussion with respect to what is recently happening in dance music. But is that the total conversation? I don’t think so.
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