Black women reinventing the remix

Kelela, Muni Long, Doechii, Amaarae and Tinashe…

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*dusting this thing off.* After a summer hiatus, I’m happy to publish something new. As we end 2024, I want to highlight the remix as a trend.

In 2024, Kelela, Muni Long, Doechii, Amaarae, and Tinashe made the remix, a Black musical tradition, fun again. In the spirit of Mariah Carey’s remix blueprint, these artists entrusted producers from underground subcultures to reimagine their hits and albums into Amapiano, drum and bass, drill, Ballroom, Ghettotech, Jersey club, and more.

As a music lover, I appreciate the extravagance of the remix; how artists allow producers to create alternate universes with their songs — and in this decade, I haven’t heard this many high-profile artists thoughtfully curate remix packs¹ that do the artform justice. Collectively, these artists’ remixes feature more women and queer producers and collaborators — much-needed diversity beyond the typical boy’s clubs of yesteryear. We also must thank the producers of the internet’s open and vast remix culture and underground raves in the last decade or so for inspiring imaginative remixes in popular music today.

Before I dive into my favorite picks from these artists’ remix packs, here is some history of Black women who have always been muses for the remix.

At my age, I feel sandwiched between the old and new days of the remix. I remember when artists released and marketed their flips separately from originals. This act gave producers on the margins of pop a verified stamp. There is no greater example of a lead remixer in popular American music than Mariah Carey. In the ‘90s, she orchestrated new possibilities for reworks by re-arranging her hits into hip-hop bangers and gospel-inspired house anthems, working frequently with Jermaine Dupri and C&C Music Factory. (If you didn’t know, start with The Remixes.)

Meanwhile, unauthorized remixes that didn’t get a boost from a major artist like Mariah would appear on a mixtape, local radio, or in a club mix. These pre-social media edits were truly underground and unique to specific regional sounds. For instance, you might not hear this New Orleans Bounce version of Anita Baker’s “No One in The World” by DJ Ackright (2004) outside of the Gulf Coast or this Ted Smooth remix of Beyoncé’s “Love On Top” (2012) past the Tri-State.

By the late 2000s-2010s, labels cared less about artists’ remixes. What passed for a sufficient remix would be adding a new feature to a track with an identical instrumental as the original. But that was boring compared to earlier remixes. Where was the creativity?

I found the sonic variety I craved via blogs, Soundcloud, YouTube, and Bandcamp in the 2010s. There, producers showcased an immeasurable amount of unique takes on hit records. Because there are no geographical limitations online, I was able to experience remixes in real-time from underground DJs and producers all over the globe. Then came new artists, like Kelela, who worked with this fresh wave of indie producers to take the remix seriously again as a solo artist. (Hear 2015’s Cut 4 Me (Deluxe), Hallucinogen Remixes, and 2018’s TAKE ME A_PART, THE REMIXES.)

In Interview, Kelela told producer and collaborator Bambii that their love for jazz and its tradition of flipping standards inspires their affinity for remix culture. “It’s a beautiful thing because they’re both very Black practices, so it’s interesting to feel them collide inside of me and work so nicely together,” Kelela shared in February, upon releasing RAVE:N, The Remixes, their fourth remix project.

Kelela's 'TAKE ME A_PART, THE REMIXES,' PinkPantheress' The Hell With It [Remixes],' Rochelle Jordan's 'Play With The Changes Remixed,' Beyoncé's "Cuff It" (Wetter Remix), Jorja Smith's "Little Things x Gypsy Woman (L Beats Mashup)," Emmavie's 'What's A Diamond To A Baby - The Remixes Vol. 1'

Since Kelela’s advancements, more Black female musicians have made the remix project an essential part of their catalog in the 2020s. Fellow alt-women PinkPantheress and Rochelle Jordan, and Emmavie dropped full-length remix albums in 2022, giving space to shine to producers who rose through underground collectives such as Sango, a known figure on Soulection, and LSDXOXO, a notable DJ at the former party series GHE20GOTH1K. In 2023, Black women artists picked out viral bootlegs, driven by the popularity of TikTok and virtual DJ sets, and released them as official remixes. Jorja Smith’s “Little Things x Gypsy Woman (L Beats Mashup)” and Beyoncé’s “Cuff It (Wetter Remix)” by DJ Esentrik are a few that come to mind.

The beauty of the remix is it allows the mainstream and underground to cross paths organically. The downside is that these sonic collisions result in remixers having to negotiate their value within mainstream music’s capitalistic machine. For example, Kaytranada told Vulture in August that his “Cuff It” remix would not be released as Beyoncé’s team “offered to pay him next to nothing.” Although some of the BeyHive felt Kay was not entitled to more pay, he needed to share this experience, as producers may not know the terms and conditions of working with major artists.

Besides major artists, music tech is more directly tapping in with remix culture. This year, Soundcloud partnered with artists to encourage fans and producers to create remixes. Back in April, rapper Lil’ Simz dropped an exclusive Soundcloud free download of her song “Drop 7,” which features the songs’ stems. She reshared the announcement and commented a call-to-action: “get creative” on her Facebook post. In August, Tinashe partnered with Soundcloud and Fadr, another music tech platform, to push fans to remix her hit song “Nasty.” It’s not entirely clear how these independent producers benefit from participating in these campaigns. With more mainstream interest in underground remixes, more of these convos will surface in years to come.²

Before we get there, let’s celebrate the now. I compiled a list of my faves from this year and some vintage joints, too. Listen to my remix selections from this article on YouTube, Tidal, and Spotify. The below list is not a ranking by any means.

1. Kelela — “Closure (Flexulant x BAMBII Remix feat. Rahrah Gabor & Brazy)” (2024)

   I’d love an in-depth behind-the-scenes from Kelela about her relationship to the remix. The amount of work she puts into bringing new collaborators and producers onto wax, from afro-house to drill, felt deeply spiritual on this year’s RAVE:N, The Remixes. New subgenres are sprouting here for sure. My most played from this album is the “Closure” remix by BAMBII. It’s ambient, soothing house.

2. Muni Long — “Made For Me (Yumbs’ Amapiano remix)” (2024)

   Taking a new R&B classic into the dance realm makes so much sense and follows in the footsteps of house remixes of Toni Braxton, Mary J. Blige, and Jill Scott. Muni’s flips ranged from Lil’ Jon & Kronic's Atlanta bass, BYNX's Jersey club to Yumbs’ soulful Amapiano. The Yumbs track is my best pick because you can’t go wrong with R&B and the private school South African sound. It wasn’t released in this pack, but the remix Queen, Mariah also hopped on the track, too, in May.

3. Amaarae — “Angels in Tibet (Falcons Remix)” (2024)

   The original is a poetic ode to hypnotizing baddies in the club, oozes Janet's sensual carefreeness, and is the epitome of Afro-pop. I had already been sonically fed, so could the “Angels In Tibet” remix pack offer me more? Turns out yes. DJ/producer Falcons produced my favorite re-work. Something about the bouncy kicks and breakbeats transports me to the East Coast-rooted club sounds. I can’t place it. Is it Baltimore Club or Miami Bass? Either way, it’s up!

4. Doechii feat. JT — “Alter Ego (Kaytranada Remix)” (2024)

   Admittedly, I’ve listened to the Kaytranada remix of “Alter Ego” more than the original. This is representative of my favorite subgenre of sonics that I love to select for my signature “Cosmic” mix series: dark, deep, moody, funky, fusions of electronic and soul. Kaytranada has remixes on Doechii, Amaarae, and Tinashe’s remix packs, but this treatment for the Florida women stood out.

5. Tinashe — “Nasty (Match My Speed Remix) by UNiiQU3” (2024)

   Tinashe’s “Nasty” is a song of the year, which meant underground producers were inevitably remixing this. My fave, UNiiQU3’s “Match My Speed,” increases the BPMs and takes the song from a mysterious, minimalist bop to a high-energy in-your-face Jersey club.

6. Mariah Carey — “Fly Away (Butterfly Reprise) (Def “B” Fly Mix)” (1997)

   Mariah was always heavily involved in her remix as the vocalist and songwriter, re-imagining the vocals, melodies, and lyrics so everything felt fresh. My favorite of hers is this uplifting house remix, “Fly Away (Butterfly Reprise) (Def “B” Fly Mix).” Also, my hip-hop mix pick is “Fantasy” feat. ODB because hearing him belt, “Is New York in the house?!” will forever hype me up.

More mentions I didn’t have time to write long on…

7. Laila!, Cash Cobain — “Problem” (2024)

I’m always here for New NY energy. The newcomer Laila!’s single “Not My Problem” was quickly sampled by Bronx sexy drill pioneer Cash Cobain into a super remix.

8. Kelela — “LSDXOXO_Truth Or Dare_123 BPM” (2018)

This went Diamond in my house.

9. Rochelle Jordan — “Lay (Machinedrum Remix)” (2022)

Rochelle’s angelic vocals balance out Machinedrum’s industrial sound and put you in a trance.

10. Destiny Child — “Say My Name (Timbaland + Static Major Remix)” (1999)

I love that DC brought more drama and urgency to their remix vocals to match Timbaland and Static Major’s eerie beat.

11. SWV — “Right Here (Human Nature Duet) (Demolition Dub Mix)” (1992)

The way “Right Here” is mixed with Michael Jackson’s “Human Nature” should be studied by all DJs who call themselves creating mashups, including myself.

12. PinkPantheress — “Last Valentines (WondaGurl Remix)” (2022)

WondaGurl plays back and forth with a melodic emo-trap sound formulaic of her Canadian peers and then sped-up breakbeats.

13. Chaka Khan — “This Is My Night (Remix)” (1989)

I only discovered this remix from Chaka’s Life Is a Dance: The Remix Project while digging on Discogs earlier this year. I prefer this over the original for how funky, bright, and house-y the groove is.

14. Whitney Houston feat. Faith Evans & Kelly Price — “Heartbreak Hotel (Undadoggz Club Rub Part 2)” (2000)

If you’re into a world that bridges R&B and UK garage this is one to know! The beat drops around 1:42.

15. Jazmine Sullivan — “Price Tags (feat. Anderson .Paak) (kryptogram remix)” (2021)

The original was throwback hip-hop soul, but I enjoy the classic four-on-the-floor of this kryptogram remix. I’m begging to hear Jazmine on more house beats.

16. Janet Jackson — “Every Time (Jam & Lewis Disco Remix)” (1997)

This remix sounds like it samples Janet’s “Together Again,” which is one of my favorites. The yearning in the original lyrics combined with these feel-good rhythms is what I live for in a dance record.

17. Emmavie — “Spirit Traveler (Remix)” by Chromonicci (2022)*³

UK singer Emmavie’s R&B yearning combined with a jazzy soulful house mix courtesy of up-and-coming producer Chromonicci.

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What are your favorite remixes from this year? Listen to my remix selections from this article on YouTube, Tidal, and Spotify.

Thanks for checking out my music writing. If you read this entire piece, love it and want to support my future work with a one-time tip/monetary gift, I’ve set up a Buy Me a Tea link here.

1. Remix packs are albums or extended-plays that feature remixes and often instrumental and accapellas for DJs to further reimagine songs.

2. 10/22: Update: This article was updated to include SoundCloud’s efforts to partner with artists to encourage remixes on the platform.

3. 10/22: Update: This piece was updated since its original publishing date (10/17) to add singer Emmavie’s contributions to the remix culture.=