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Grimes was recently diagnosed with both ADHD and autism, the singer revealed in a lengthy X post sharing her thoughts on childhood learning disabilities.
While calling out what she sees as a social media “subculture” of “extreme infohazards” posing as helpful online mental health resources, the “Oblivion” artist wrote, “Got diagnosed w adhd/ autism this year and realized I’m prob dyslexic which is why I can’t spell at all without spellcheck.”
“I feel like, had we known this when I was a child I would have worked so much less hard, been on drugs, and so many of the weird obsessions and motivations I had would have been seen as pathological,” she continued. “I could have written off certain things that were very hard for me but I’m glad I over came them.”
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Noting that she thinks too many people are “self-diagnosing” mental health conditions, Grimes added, “My adhd symptoms were infinitely worse when I wasn’t an avid reader. An adhd account trying to pathologize one of the best things a child can do to help with adhd (and also become an auto didact and knowledgeable person etc etc) is so dark … I think the nature of this uninformed social media mental health subculture is rly a big concern.”
The Mayo Clinic defines ADHD, or attention-deficit/hyperactivity disorder, as a condition marked by difficulty paying attention, hyperactivity and impulsive behaviors, while autism spectrum disorder is listed as a condition “related to brain development that impacts how a person perceives and socializes with others.”
The American Psychiatric Association estimates that 8.4% of children and 2.5% of adults have ADHD, while the CDC says that about 1 in 36 children have been identified with autism spectrum disorder.
Grimes hasn’t released an album since 2020’s Miss Anthropocene, which reached No. 32 on the Billboard 200. She has, however, dropped a string of singles and collaborations in the years since, including her most recent track “Idgaf” — a recovered unreleased demo that the Canadian musician finally added to streaming services in February.
Around the same time as the new track dropped, Grimes once again addressed how ex partner Elon Musk brought their 4-year-old son, X, with him to the White House earlier that month. “I would really like people to stop posting images of my kid everywhere,” she told TIME in a Feb. 24 feature of the highly publicized ordeal. “I think fame is something you should consent to. Obviously, things will just be what they are.”
This week in dance music: Beatport cited a 25% revenue increase in Mexico over the past year, along with plans to expand in the country, Zeds Dead, David Guetta and GT_Ofice made moves on the dance charts, The Dare tried to crowdsurf at a gig in Bristol and it did not go well, FKA told the story of how North West ended up making a cameo on Eusexua and we caught up with Flying Lotus on the occasion of his new film and the score he made for it.
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And these, of course, are the best new dance tracks of the week.
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Fisher, “Stay”
The Australian star drops his first release of 2025 with “Stay,” a bright, warm gospel house/meets tech house singalong apt for these first few days of spring. The track samples Exile’s 1978 classic “Kiss You All Over” (a song that fans of Happy Gilmore will quickly recognize) and bumps along brightly before an abrupt end. Fans of the Fish can get more all summer long, with the producer playing fests including EDC Las Vegas and Electric Forest along with his residency at the new club [UNVRS] in Ibiza. His own event, Fisher’s Out 2 Lunch, happens for the second time this May in his native Gold Coast of Australia.
Above & Beyond with Zoe Johnston, “Quicksand (Don’t Go)”
The gentlemen of Above & Beyond, along with frequent and longtime collaborator Zoe Johnston, have always specialized in a style of music that makes you dance as it also makes you cry. Their latest “Quicksand (Don’t Go)” is more of the same in the best way, with the gently propulsive, highly emotive anthem and slowly building anthem contemplating concepts of love, loss and longing over nearly six minutes. The song is the lead single from A&B’s newly announced sixth studio album Bigger Than All of Us, coming July 18 on their own Anjunabeats label. Ahead of that, the trio will play major festivals including Ultra in Miami next week and Coachella next month.
DK Holographic, “Aries”
Detroit’s DJ Holographic drops her debut album House In the Dark, with each of the 12 songs named for each of the 12 zodiac signs. Given that Aries season starts today, it’s apt that “Aries” opens the album, with the song encapsulating a driving and kaleidoscopic electro production that the producer occasionally strips down to just the kick drum and a glowing bells before building it all back up. “Through healing practices like shadow work, astrology, and more, I’ve found a profound sense of arrival while writing House in the Dark,” the producer says in a statement. “I’ve stepped into who I’ve always wanted to be as a creative and so much more.” Whatever your sign, there’s something for you on this dazzling LP.
Loco Dice & The Martinez Brothers, “Juice”
It’s a meeting of the minds on “Juice,” with Loco Dice partnering with fellow club kings The Martinez Brothers for the tight, hypnotic and predictably cool tech house track. The collaboration, from Dice’s forthcoming album Purple Jam, is one of myriad upcoming get-togethers for producers, with the three guys closing out Space together at the tail end of Miami Music Week on March 27 and then going b2b at Coachella next month as part of the festival’s freshly announced Quasar Stage lineup.
Dom Dolla feat. Daya, “Dreamin (Anyma Remix)”
Dom Dolla’s slinky February release “Dreamin” gets the Anyma treatment via a new remix from the latter producer. Under his watch, the song becomes bigger, darker and tougher, with the producer’s melodic techno fingerprints all over the edit and the approach altogether creating an eerie juxtaposition against the “sunny days/ it’s such a pretty place/ I see your smiling face” lyrics.
Booka Shade, “Broken Glass”
German mainstays Booka Shade release the latest in the duo’s long list of studio albums today, with For Real opening with the sumptuous “Broken Glass.” Containing none of the harshness its title might indicate, the track is laden with bongos, strings and bird calls, altogether falling squarely into the deep, vibey and contemplative realm where so much Booka Shade music has existed for more than 20 years now.
In addition to a visionary oeuvre melding jazz, electronica, hip-hop and beyond, Flying Lotus has been quietly building a film/TV career over the last decade. For the 2021 anime Yasuke, he not only scored the series but executive produced, providing plot and character concepts for the series. Prior to that, you may have missed his directorial debut, Kuso, a 2017 body horror flick starring Hannibal Buress; hell, even if you saw it, you might not have known he was involved, as the director was credited simply as “Steve” (his real name is Steven Ellison) on the project.
Now, on his second feature-length film, Ash (out now in theaters and eventually on Shudder), he’s fully aligning his artistic pursuits under his Grammy-winning moniker. Flying Lotus is the director, executive producer and composer of Ash – plus, he acts in the film, alongside stars Eiza González and Aaron Paul, as one of the crew members on a blood-soaked mission to set up life on an alien world in a future where earth has become unlivable (hard to imagine, right?). Melding surreal science fiction, slasher, whodunnit and psychological suspense, Ash is a tightly executed thriller that also grapples with some weighty question: Is there a future for humans on other worlds? What happens when you can’t trust your senses? Is it worth sacrificing the truth just to survive?
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The direction is assured and economical when it needs to be while also evoking Kubrick and Nolan in its more disorienting moments. Speaking to Flying Lotus days ahead of the film’s release, it’s strange to learn that the music, of all things, seems to have given FlyLo the most trouble on Ash. In fact, he wrote an entirely different score for the movie that he decided didn’t work, forcing him to start over in the post-production process.
While we may hear parts of that other score eventually (more on that later), the music that does accompany Ash perfectly suits the action, mining the relentless terror of John Carpenter’s music in some scenes, the majesty of Vangelis in others and even the expressive soundscapes of Jean-Michel Jarre.
From learning his post-production “superpower” to the shot from a famous horror movie he cops to lifting, here’s what Flying Lotus had to say about his new project.
Directing a movie is a huge undertaking and accomplishment, so congrats. How did you come to this project?
The people who I worked with on Kuso — that put it out and helped me get distribution for it, XYZ films — they’ve been kind of repping me ever since. We’ve been trying to find a good project to work on — you know, gently. They would send me material and oftentimes it was just not right for me. When this one came around, after I had just done Yasuke, they were like, “Hey, are you interested in this? We’ve been trying to get this thing going for a while.” And I was like, “Guys, how could you not have sent this my way before? It’s totally up my alley!” It’s got all the things that I’m after, and it’s also one of those things where I would also hate to see someone else do it and not do a great job with it. So I got in the mix and just started coming up with some ideas and drawing pictures and throwing them back and forth. They got into it with me and I’m really grateful.
When you signed on for this, was it just a given you would do the score, too?
It was more so like, “Hey, you’re also thinking of doing that, right?” I’m pretty sure people were thinking that was going to happen.
What was it that attracted you to this story? What about the script made you think you had to do this?
It struck me out the gate. It had all the signs that directors talk about. You couldn’t put the script down; you started coming up with images in your mind; and like I said, you just start seeing someone else direct it and not doing a good job with it, and [that idea] frustrates you to the point where you’re like, “You know what? I got to do this.” I love the genre, and I love the idea of doing a film that was a bit more commercial leaning, but where I still have room to experiment and play. It was the perfect thing for me. It’s so hard to make a movie; I wouldn’t just jump on any gig just because it’s an opportunity.
The script is interesting, because when it starts out, you think you have it figured, but as the movie progresses, so much more is unraveled.
Yeah, man, it was a lot of fun. It also reminded me of some of my favorite survival horror games. I think it’ll resonate with all the gamers, hopefully. That’s where I come from with this for sure — a lot of first person-y things and lot of video game references. A lot of people ask me about cinematic references, but I always lean more on games and play a lot of video games when I’m working on a movie: Resident Evil, playing Silent Hill, the old ones, over and over. A lot of the indie horror games, too. I started borrowing more from that world because it felt like a road less traveled.
So the first film you directed was credited to Steve, but this one is credited to Flying Lotus. Why?
I guess it’s just taking ownership of the name. They even asked if I wanted to call it “a film by Steven Ellison” or whatever. And I was just like, “I gotta ride it. I’m Flying Lotus, I’ve been doing this for 20 years, man.” It’s time to just let it be what it is at this point.
As a composer, when did you start coming up with musical ideas for this. While reading the script?
Absolutely, right out the gate. I had this crazy, cosmic concept for the music. It was something I started chipping away at from the very beginning. I really wanted to get this new sound: I was pitching to the producers, I was playing it to people, sharing it. When we got to the edit room, none of it worked. It was a totally different sound than it needed to be. It was music for another movie, basically, that wasn’t the movie that was being presented to me. I learned a huge lesson there. I think if I would have gone along with that original idea it would have still been interesting but would have been very wrong for the movie. I learned to listen to the movie and let the movie show you what it’s supposed to be, and to remember to take that step away from it. I think some people get this vision and they’ll just stick with it to the end. Sometimes you need to be able to adapt to the work that is on the timeline.
What was that other soundtrack like? What sonic reference point would you compare it to?
I really don’t like to talk about it, because I’d still like to do it at some point, but I’ll just say that, as a reference point, I was going to do something more like [Miles Davis’] Bitches Brew. It’d be a little different, but it just didn’t go.
How quickly did you figure out the score that ended up in Ash?
It took a while to figure out, but thankfully, I have a lot of reference points from different films. Right out the gate, we had to throw a temp in the movie, so I was able to play with what I thought it needed to sound like for a little while. And while we were in the edit I would sometimes write a queue for something, because I didn’t want to have the temp in that moment. I did the majority of the work when I was in New Zealand finishing post-production on the movie.
Does it feel like different parts of your brain, the composing, directing, editing?
It is now becoming part of my directing process, because I have more confidence in what I can do in the edit while I’m shooting. The editing part of the process, the post, is honestly where I come to life. As someone who sits in front of Ableton all day, it’s real close, editing a film and doing sound design and all that. It’s right there. That’s my superpower zone, the post.
What is it like to act alongside people you’re also directing?
It’s really nerve-racking. But the beauty of this movie was we all ended up doing our scenes on day one together. In a way, we were all nervous; we all had the jitters and were trying to feel each other out. And that was actually what the scene needed — it was a way for us to start building for the greater movie. To put myself in that position, I was able to empathize better with what the actors are feeling, because I know what it’s like to be on the other side of it.
What was it like directing Aaron Paul? Are you a Breaking Bad fan?
I’m just an Aaron Paul fan. He’s a such a great actor and a great human. He was super, super essential in the process. Just his energy on set and how he would lift the crew and the cast. He’s just an incredible human.
Without giving anything away, I will say there was a particular scene where the score really evoked John Carpenter – that relentless, repetitive, terrifying electronic sound.
That makes me happy. Some of those weird dissonant chords, there’s some of that in there for sure. I was thinking of him so much in the process. One of the movies that I did watch over and over right before production was the original Halloween. I even lifted a shot from that movie — if you’ve seen Halloween, you’ll know the shot. I was trying to get in his spirit toward the end, because he did a lot of his soundtracks alone with very minimal equipment and not a lot of time. When I was in New Zealand, I tried to think like him. I even hit him up: we talked a bit, and he was just so cool, man. He gave me some pointers, we were talking sh-t. But yeah, he was super influential. Vangelis was super inspiring. Akira Yamaoka from the Silent Hill series was super inspiring. I listened to the Cliff Martinez soundtrack from [the 2002] Solaris. I listened to a bunch of Berlin techno, really dark techno. And Angelo Badalamenti, there’s some of him in there.
Speaking of Angelo, you worked with David Lynch on “Fire Is Coming” in 2019. Do you take any particular inspiration from his directing style?
One thing I’ve learned is to be more confident in the unknown and the surreal and how a thing feels versus what a thing means. And not having to always explain a thing or why. Giving people some mysteries to chew on for a little while.
What was the hardest scene to direct?
Dude, my worst day on set was the medbot, the extraction medbot scene. I didn’t know if it was going to work. The whole movie depends on that sequence working out. There was a lot of faith that had to be put into the CG element of it, and we had no time. And that was also the day Aaron was done filming, so he was like, “Alright, that’s the last thing I got, right? I’m out of here.” It was that feeling of, “Oh, Aaron, no, don’t go!” [laughs] Then feeling like, “Dude, I don’t know if we got it with this medbot thing.” But now I have a bit more confidence in the post process and the things that that can be achieved.
Well, it’s tough to direct or act in a scene where CGI makes up a big portion of it.
To be honest, because we’re a small movie, I was just worried that our FX team wouldn’t be able to pull it off in a realistic way. Just because I didn’t know! So I was really, really nervous about that. Had a little freak out, but came back, got it done. But there’s some really great FX stuff there. I was just blown away when I saw that. That’s my favorite stuff that they put together.
And of course, it’s a small budget. But the scene absolutely does work.
It was a lot of love and a lot of support from people who had heard of my music and wanted to try a project that would be a little different. It’s nice to go a little crazy.
FKA Twigs‘ “Childlike Things” technically took the longest of all the songs on her album Eusexua to complete, with the finishing touch ending up being North West‘s serendipitous feature on the track.
In a video posted to Instagram Thursday (March 20), the British singer-songwriter told the story of how the firstborn daughter of Kim Kardashian and Ye (formerly Kanye West) ended up on the album, which dropped in January. On “Childlike Things,” the 11-year-old raps in both English and Japanese, spitting over Twigs’ electronic dance beat, “Hello, my name is North/ From California to Tokyo/ Jesus the King/ Praise God/ Jesus is the only true God.”
According to Twigs, it all started when she was in the studio sans North and found herself blurting out long-forgotten lyrics — “I’ve got supersonic powers that are polyphonic/ Like a chocolate teapot, melt ’em down and burn ’em up” — that the Gloucestershire native composed when she was a kid. They ended up becoming the foundation for a track that was decades in the making, but she quickly realized that she needed to bring in a collaborator who could match and enhance that “childlike energy” she was tapping into.
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“It [needed] someone who has that tenacity, who has that strong point of view that you have when you’re 11,” Twigs told followers while doing her makeup for the day. “Then I saw an interview with North West, and she was so confident. It suddenly occurred to me that I would’ve loved to have a friend like North who could speak up for themselves.”
“I was like, ‘OK, it has to be North, she has to put her point of view on the song,’” she added. “She came and wrote about her faith, which I think is really powerful.”
“Childlike Things” ended up being one of 11 tracks on Eusexua, which debuted at No. 24 on the Billboard 200 — Twigs’ highest peak on the chart to date. North had previously worked with her dad on Vultures 1‘s “Talking” and Vultures 2‘s “Bomb.”
Most recently, the pre-teen appeared on Ye’s “Lonely Roads Still Go to Sunshine,” which also features a recording of a phone conversation between the rapper and Diddy, who is currently incarcerated while awaiting trial on federal charges of racketeering, sex trafficking and more. (Kardashian reportedly did not approve of the song and expressed in alleged text messages posted by Ye that she’d attempted to block the release by trying to trademark North’s name, per TMZ.)
In her video, Twigs ended by remarking how “Childlike Things” came together across decades, starting before North was even born. “The crazy thing is that I wrote the song when I was 12, 13; she wrote the song when she was 11,” the musician said. “This is a collaboration that has taken decades to come to fruition. North helped make this song come to life after so many years, and for that I’m so grateful.”
Watch Twigs tell the story of how North ended up on Eusexua below.
Billboard’s Dance Moves roundup serves as a guide to the biggest movers and shakers across Billboard’s many dance charts — new No. 1s, new top 10s, first-timers and more.
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This week (on charts dated March 22, 2025), Zeds Dead, Lady Gaga, GT_Ofice, David Guetta and others achieve new milestones. Check out key movers below.
Zeds Dead
The Canadian electronic duo hits Billboard’s Top Dance Albums chart for the first time in nearly a decade thanks to its new album, Return to the Spectrum of Intergalactic Happiness. Released March 7 via the act’s Deadbeats label, the set debuts at No. 14 with 4,000 equivalent album units earned in the U.S. its opening week, according to Luminate. The pair last appeared on the chart in November 2016 with its No. 6-peaking Northern Lights. Zeds Dead has charted four additional projects on the ranking, including the top 10 Somewhere Else (No. 4 peak, 2014).
Plus, Zeds Dead’s “One of These Mornings” reenters the Hot Dance/Electronic Songs chart at No. 21, boosted by the new album’s release. The track debuted at its No. 15 high in February, becoming the pair’s highest charting entry. – XANDER ZELLNER
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Lady Gaga
As previously reported, the superstar has a monster week on Billboard’s charts thanks to her new album, MAYHEM. The set soars in at No. 1 on both the Billboard 200 and Top Dance Albums charts with 219,000 units. It becomes her seventh No. 1 on the Billboard 200 and her record-breaking eighth leader on Top Dance Albums, as she passes Louie DeVito for the most in the chart’s 24-year history. Notably, her 2008 debut, The Fame, has spent a record 193 weeks at No. 1.
Gaga also charts nine songs from MAYHEM on the Hot Dance/Pop Songs chart, including seven in the top 10. “Abracadabra” rules the ranking for a fourth week. –X.Z.
GT_Ofice
GT_Ofice earns his first leader on a Billboard chart as “Someone Else” ascends a spot to No. 1 on Dance/Mix Show Airplay. The DJ-producer (real name Caine Sheppard; the first three letters of his moniker stand for “good times only”) has charted four songs — all self-released– dating to 2023, reaching a previous No. 26 peak with “Every Thought of You” (with ALWZ SNNY). He also hit No. 30 with his other sole-billed entry, “Never Together.”
“Someone Else” is receiving support on stations including Pulse Radio in San Francisco (more than 850 plays to date, according to Mediabase), Pulse 87 (Hudson Valley, N.Y.; 600 plays) and Revolution 93.5 (Miami; 550 plays). “Dance radio has helped introduce me to listeners who might not be in the club or festival scene,” GT_Ofice says. “I generally mix poppy vocals with dance pop beats. My sound is just a little different.” –GARY TRUST
David Guetta & Sia
Both artists return to the top 10 of Hot Dance/Electronic Songs with their new collaboration, “Beautiful People.” Released March 7, the song debuts at No. 8 with 1.2 million U.S. official streams earns in its opening week. It earns Guetta his 26th career top 10, the second-most in the chart’s history, after Kygo’s 27, and Sia her sixth. It’s also Guetta’s record-extending 94th overall entry. The song concurrently starts at No. 30 on Dance/Mix Show Airplay.
“Beautiful People” marks the latest charted collaboration between Guetta and Sia. The pair previously appeared together on Hot Dance/Electronic Songs (which began in 2013) with “She Wolf (Falling to Pieces)” (No. 8 peak in 2013); “Bang My Head,” also with Fetty Wap (No. 5, 2016); “Flames” (No. 9, 2018); “Let’s Love” (No. 9, 2020); and “Floating Through Space” (No. 11, 2021). They first linked up for the smash “Titanium,” which hit No. 7 on the Billboard Hot 100 in 2011. –X.Z.
Frank Walker & Alexander Stewart
The pair’s single “Crossfire” rises 13-10 on Dance/Mix Show Airplay, reaching the top 10 thanks to a 9% gain in spins. Walker adds his fourth top 10 and first since “I Go Dancing” (with Ella Henderson), which spent a week at No. 1 in 2023. Stewart scores his second top 10, and overall entry, after his team-up with Two Friends, “Wrong Way,” which spent a week at No. 1 in November. –X.Z.
L.A.’s nightlife just got a major upgrade. During its grand-opening weekend, Zouk Group and sbe officially launched Zouk Los Angeles, a 16,500-square-foot venue in West Hollywood (643 N. La Cienega Blvd.), bringing world-class DJs, top-tier production and unmatched energy to the city’s club scene. The weekend kicked off Thursday (March 13) with an exclusive VIP […]
03/16/2025
With support from Jordan Miller and Nala, the producer closed out Billboard’s trio of shows at SXSW 2025.
03/16/2025
Martin Garrix will play a trio of nights at the the L.A. State Historic Park this summer. According to a representative for the shows, this run will make the Dutch producer the first artist to ever play three nights at the outdoor L.A. venue. Explore Explore See latest videos, charts and news See latest videos, […]
This week in dance music: Lady Gaga performed her electro romp “Abracadabra” and new Gesaffelestein collab “Killah” on Saturday Night Live, John Summit announced that he recently completed his “first fully sober tour,” Barry Can’t Swim released his first new single of the year with “The Person You’d Like to Be,” we caught up with the gentlemen of Justice to discuss the hyper success of their Hyperdrama album, Chicago’s ARC Music festival announced a hefty 2025 lineup, Radiohead’s Thom Yorke and electronic musician Mark Pritchard announced a forthcoming collaborative album, we got the first look of the newly designed Brooklyn Mirage and Everything But the Girl revealed that they’ll perform their first live shows in 25 years next month in London.
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And on top of all that, we offer these, the best new dance tracks of the week.
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Calvin Harris, “Smoke the Pain Away”
Calvin Harris walks down the dirt road into country music with “Smoke the Pain Away,” an acoustic guitar and harmonica-heavy ode to trying to numb heartbreak with a hodgepodge of controlled substances. When the Scottish hitmaker teased the track earlier this month, it was unclear if or how any electronic elements would be incorporated, but while the song is still a departure for Harris, it does contain dance DNA with a flickery, high BPM beat that adds extra verve and bounce and helps the song ride the line between the two genres.
Featuring Harris’ own plaintive vocals, the song is another pretty undeniable earworm from one of dance’s foremost hitmakers. It also comes days after the announcement that Harris will play the first ever double residency at Ushuaïa in Ibiza, where he’ll perform on both Tuesdays and Fridays this summer. In keeping with the country theme. this mega-club is not too far from the sprawling farm Harris has on the island. “
Sub Focus & bbyclose, “On & On”
It’s a big week for Sub Focus fans, the with U.K. heavyweight releasing his first new single of the year with “On & On,” which extends his reputation as an essential master of drum and bass. The hypnotic song features a long mid-track bridge built largely around vocals from bbyclose, with the song altogether adding fuel to a run that’s included Sub Focus’ 2024 John Summit collab “Go Back.” Following his sold out show at London’s Alexandra Palace last week, he announced this week that he’s bringing this same Circular Sound setup — which features him playing from the center of a halo of lights — to New York and Los Angeles this fall.
Cassian, Script & Belladonna, “Where I’m From”
It’s not a surprising that Cassian got not one but two slots opening for Anyma’s Sphere residency, given that Australian producer and mixing engineer’s sound sound falls squarely into the grandly-sized melodic techno style preferred by Anyma and many of the artists surrounding him. “Where I’m From” is a prime specimen of the genre, with Cassian and his co-producers Script and Belladonna weaving together an urgent production, with stuttering vocals and ominous choral singing, into a straight-up banger that’s right out of an action movie.
Myd, “The Wizard”
French producer Myd returns with a pair of new tracks, “Song for You” and “The Wizard,” with the latter being a warm, propulsive and very soulful fusion of disco and tribal house that just feels good on the ears. Out via Ed Banger Records and Because Music, the singles follow Myd’s slot DJ-ing the Opening Ceremony of the 2024 Paralympic Games in Paris and also comes after a marathon week-long Twitch stream from the producer’s house in that same city, a segment of which you can see here.
DJ E-Clyps, “Gitit”
The always reliable DJ E-Clyps returns with his fifth single of the year, “Gitit.” The track balances a cool, bouncy, nearly future house production with E-Clyps’ own vocals, a ode to being in the club and appreciating the kind of woman with “pretty super eyes and those super juicy thighs” — lyrics he delivers in a laid-back staccato. “Gitit” is out on Blacklight Factory, the label E-Clyps founded in partnership with Empire Dance and launched last month.
Catz ‘n Dogz & Nala, “Dance”
The Polish duo return with the noisy, kind of giddily abrasive electro-punk track “Dance” a call to arms for dancefloor self expression. “We wanted to create a track that could be played when you’re angry, or just if you need to release that pressure valve. Something with pure energy” says the duo’s Greg Demiañczuk. This one is just that, with its strident vocals courtesy of Miami-based artist Nala, a regular Catz & Dogs collaborator who’s also opening for John Summit tomorrow (March 15) at Billboard Presents THE STAGE at SXSW in Austin, Texas.
British dance duo Everything But the Girl will perform its first live shows in 25 years in London this April.
The duo, made up of husband-and-wife musicians Tracey Thorn and Ben Watt, will perform at east London’s 300-capacity MOTH Club on April 6 and 7. The news was first shared to the pair’s mailing list on Thursday (March 13), and tickets sold out instantly.
Everything But the Girl’s official website has confirmed that the pair will perform as “as a part-acoustic part-electronic duo accompanied by Rex Horan on double bass.” They shared more details on their website, promising, “No club bangers, no huge arena, just a chilled folk-tronic vibe,” and said that they will perform songs from the EBTG catalogue, as well as Thorn and Watt’s solo material. The show will be billed as Ben Watt and Tracey Thorn, the website confirms.
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The pop duo released its most recent album, Fuse, in 2023, and credited the LP with getting them excited about playing live again. “We loved making Fuse together in 2022, and we wanted to do something else,” Watt wrote on the pair’s website. “And that slowly turned into a conversation about playing live again.”
“When we pictured how, we realized we just wanted to play a few songs – including some we’d never done before – in a small club,” added Tracey. “Front room, friends and family vibe. If the shows go well we intend to do more.”
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The pair last performed live in 2000 at the Montreux Jazz Festival in Switzerland.
Everything But the Girl formed in 1982 in Hull, Yorkshire, and has released 11 studio albums. The group was on hiatus for 24 years between 1999’s Temperamental and 2023’s comeback album Fuse; the pair married in 2009.
They’ve had 12 top 40 singles in the U.K., and achieved two top five albums on the Official Albums Chart. Following a remix by Todd Terry in 1995, their single “Missing” was a worldwide hit and spent 55 weeks on the Billboard Hot 100, peaking at No. 2. “Missing” also hit No. 1 on the Billboard Pop Airplay Charts, and No. 2 on the Billboard Dance Singles Sales. EBTG’s follow-up single “Wrong” (1996) also landed on the Hot 100, topping out at No. 68.