Let’s start with the essentials: house music is Black music. House music was born in the United States; Chicago to be exact. House music is one of the core foundational styles of electronic music; as important as Detroit-bred techno.
House is an upbeat genre characterized by a funky, repetitive 4/4 beat (also known as four-on-the-floor) and a danceable tempo ranging from 115 to 130 bpm. House is often made with synthesizers and drum machines — like Roland’s classic TR-808 and TR-909 — along with samples. Vocals are common in house music, with the most classic iterations being female diva vocals that harken back to house’s disco roots, or distorted, pitched vocals that give a sample new life.
The foundations for house music were bubbling in the ’70s in the Midwest and East Coast, particularly at celebrated underground New York clubs like Paradise Garage and David Mancuso’s Loft, and in Chicago’s house party scene. Larry Levan, the star DJ of Paradise Garage, played an eclectic mix of tunes — particularly disco, R&B, new wave and proto-house records from the likes of Arthur Russell (as Dinosaur L and Loose Joints) and Gwen Guthrie. This New York underground sound would have a huge influence on house music, and was imported to and adapted for Chicago by the Bronx-born Godfather of House Frankie Knuckles.
While disco and funk thrived in the New York club scene, the short-lived post-Saturday Night Fever national disco craze led to its over-commercialization and oversaturation. That came to a head on July 12, 1979, when radio shock jock Steve Dahl led the Disco Demolition Night at the Chicago White Sox’s Comiskey Park. The underlying racism was unmasked as mostly white attendees brought all sorts of non-disco records from Black artists for Dahl to blow up, culminating in on-field riot.
The impact was swift and far-reaching. As the Guardian pointed out, 13 out of 16 of the No. 1 hits in the U.S. from the first half of 1979 were disco tunes, while just one disco tune topped the chart for one week during the second half of the year. Radio stations pivoted back to rock music, labels stopped investing in disco and even the Recording Academy canceled its Best Disco Recording category after one year.
While the commercial and pop culture appetite for disco had soured, people still needed music to dance to. The future of dance music would be created by innovative DIY producers. Aided by the exciting new technology of drum machines, Casio keyboards and other relatively affordable “bedroom producer” equipment, young people in Chicago — many of them Black and queer — made music that would soon be called house. Named after its first home, Chicago’s Warehouse, which opened in 1977, this music not only soundtracked sweaty dancefloors, but would influence electronic music the globe over to this day.
The history of house music — from its foundations in the Windy City to its global explosion, and evolution to the current day — is as rich and varied as the genre itself. This timeline, while not an exhaustive list, will take you through some of the biggest key moments, tracks and players that have shaped house over the last four decades.
House Music Is Born In Chicago
By 1980, The Warehouse was in full swing under the helm of its venerated resident DJ Frankie Knuckles, a.k.a. the Godfather of House. The Bronx-born DJ was a close friend of Larry Levan and also got his start in the queer NYC underground, bringing his disco-rich, classically omnivorous New York club sound to what would become his devoted Chicago fanbase.
As disco singles dried up, Knuckles needed fresh tunes to mix into his sets and turned to reel-to-reel tape to craft his own extended remixes live in the club. Later, he’d produce his own original house tunes, like the kinetic “Baby Wants To Ride” featuring legendary house vocalist Jamie Principle in 1987. Knuckles famously called house music “disco’s revenge.”
In late 1982, Warehouse admission price doubled and Knuckles left to start his own club, The Power Plant, where he introduced drum machines into his sets. Knuckles closed his venue in September 1987 and moved back to NYC. Meanwhile, The Warehouse was renamed the Music Box, and Knuckles’ big shoes were filled by the frenzied, eclectic sets of new resident Ron Hardy. Another vital early house DJ, Hardy would play young local producer’s tracks and make them hits — yet his untimely death to AIDS at age 33 in 1992 and limited production output have left his legacy oft under-sung. Smartbar, which has remained a purveyor of house music to this day, also opened in 1982, spreading the house club scene to Chicago’s North Side.
The nascent genre was technically born in 1984 with the release of Vince Lawrence and Jesse Saunders’ “On and On,” one of the first original house tracks. With its jittery, repetitive loops, catchy, clapping hi-hats, simple, playful vocals, disco samples, and use of recently introduced drum machines, the track is a perfect representation of classic Chicago house. The pivotal track inspired a rash of other young house-heads to try their hands at production.
Other important ’80s Chicago house tracks include Mr. Fingers’ (a.k.a. Larry Heard) deep house classic “Can You Feel It,” which was made with just the TR-909 and JUNO-60 drum machines, and Marshall Jefferson’s “Move Your Body (the House Music Anthem)” — the first house track that used piano — both of which were released on Trax Records in 1986. Other crucial releases include Lil’ Louis’ frenetic, deeply influential 1989 track “French Kiss,” Steve “Silk” Hurley’s “Jack Your Body” in 1987, and Ron Hardy’s “Sensation” in 1985. Phuture’s “Acid Tracks” in 1987 marked the launch of acid house, characterized by DJ Pierre, Earl “Spanky” Smith Jr. and Herbet J’s trippy, sputtering experiments with the Roland 909 drum machine.
Chicago record stores such as Gramaphone and Imports Etc. played a vital role in promoting and distributing house music, and served as an educational and meeting space for DJs and ravers.
By the mid-’80s, house music was expanding beyond Chicago and its environs. Frankie Knuckles was in demand overseas, and even held a summer residency at a London gay club called Heaven in 1987. Led by techno forefather Kevin Saunderson and Chicago singer Paris Grey, Inner City showcased the joyful house music coming out of Detroit and the impact the two scenes were already having on each other. The group also showcased house’s global pop potential, with their classic 1988 debut single “Big Fun” scoring them a No. 1 hit in the UK and on the U.S. dance chart. 1988’s “I’ll House You” from New York rap group the Jungle Brothers and DJ/producer Todd Terry showed that New York was ready to bring their flavor to house.
Europe, UK & NYC Go House Crazy; Chicago’s Second Wave Artists Emerge
House music continued to thrive in Chicago in the ’90s as the next generation of pivotal Chicago artists cropped up , including Derrick Carter, Ron Trent, Paul Johnson and DJ Sneak, while the originators continued their quest to make house happen on a broad scale.
In 1992, house rebel Curtis Jones (performing as Cajmere) dropped the eternal dance floor heater “Percolator” and launched his influential Cajual Records. In 1993, he’d add Relief Records into the mix as an outlet for Green Velvet, his neon-green-mohawked acid house and tech house alter ego and, as Bandcamp put it, “early releases by future legends of the second wave.” The popularity of Jones’ music and labels helped put Chicago house on the map globally.
Read more: Dance Legend Curtis Jones On Cajmere, Green Velvet & 30 Years Of Cajual Records
In 1995, newcomer Derrick Carter teamed up with Brit Luke Solomon to launch London house imprint Classic Music Company, which is still running today under another iconic UK house label, Defected (established in 1999).
In 1990, DJ collective The Chosen Few DJs, which includes Jesse Saunders, launched their annual house head reunion picnic. The Chosen Few Picnic and collective are still actively spreading the gospel of Chicago house today. In 1997, Chicagoans DJ Lady D, DJ Heather, DJ Collette and Dayhota made history with the U.S.’s first female DJ collective Superjane.
Dance remixes, many of which were undeniably house, proliferated in the ’90s. New York remained the source of these in-demand producers, with Masters at Work (Louie Vega and Kenny Dope), C&C Music Factory (David Cole and Robert Clivillés), François K, David Morales, Todd Terry and Danny Tenaglia at the forefront. New York-based Strictly Rhythm and Nervous Records, both of which are still active, released countless house classics.
In 1991, Frankie Knuckles released his debut album Beyond The Mix, featuring the breezy classic “The Whistle Song.” He brought his DJ sorcery to New York with residencies at clubs Roxy and Sound Factory, the latter which brought Harlem’s liberatingly queer ballroom culture to the downtown club scene, via NYC house legend Junior Vasquez. In 1998, Frankie Knuckles fittingly won the inaugural Best Remixed Recording GRAMMY Award (then called Remixer Of The Year, Non-Classical), and was nominated again the next year, but David Morales took home the gold.
Masters at Work’s impact on ‘90s NYC house can’t be understated. Some of the dynamic duo’s big tunes from the era include Barbara Tucker’s 1994 No. 1 Dance Club hits “Beautiful People” and “I Get Lifted,” along with Harddrive’s (a.k.a. Vega) “Deep Inside” and “The Bomb! (These Sounds Fall into My Mind)” by the Bucketheads (a.k.a. Dope). Other big ’90s house tracks that came out of NYC include Robin S.’ enduring “Show Me Love,” which hit No. 5 on the Billboard Hot 100, Ultra Naté’s ever-uplifting, Mood II Swing-produced “Free” from 1995, and Armand van Helden’s 1999 classic “U Don’t Know Me.”
At New Jersey’s influential Club Zanzibar, a deep and soulful rendition of house was being perfected by Brooklyn-born Tony Humphries and Jersey-bred Kerri Chandler (one of the progenitors of deep house, alongside Larry Heard). Demonstrating the porous borders of house, Jersey house singer Adeva teamed up with Knuckles for a joint album in 1995, going full gospel house with a backing choir.
The ’90s also saw more house coming out of Detroit, with a more minimal, often spacey touch, reflective of the city’s empty buildings and techno roots. Moodymann showcased his singular lo-fi funk-laden sound with his debut album Silentintroduction on Detroit techno legend Carl Craig‘s Planet E label, while Theo Parrish, Chez Damier (who got his start in Chicago), Stacey Hotwaxx Hale and DJ Minx all began making their mark on house. Of course, there is no rule that techno artists can’t make house, and many Detroit legends did, including Kevin Saunderson, Carl Craig, DJ Minx, “Mad” Mike Banks and others.
Read more: Planet E’s Carl Craig On Keeping Dance Music Black & Expansive New ‘Planet E 30’ Album
Mainstream European audiences have generally shown more openness to dance music than Americans, with dance tunes regularly topping the pop charts in the UK, Sweden, Germany, and beyond. Eurodance was at its euphoric peak in the ’90s, with key tracks such as Technotronic’s “Pump Up The Jam” (1990, UK), La Bouche’s “Be My Lover” and “Sweet Dreams” (1995, Germany), Haddaway’s “What Is Love” (1993, Germany), Snap’s “Rhythm Is A Dancer” (1992, Germany), Real McCoy’s “Another Night” (1994, Germany) and Corona’s “Rhythm of The Night” (1993/4, Italy). Many of these singles also charted in the U.S.
The UK, and London specifically, have always had an affinity towards house music and putting their own spin on American sounds. In the ’90s, soulful house from New Jersey inspired the bassline-focused UK garage (and, later, its faster cousin speed garage). Tech house was born in London in the mid-90s by acid house DJs; it soon became London’s de facto club sound following Terry Francis’ appointment as club fabric’s first resident DJ. London club Ministry of Sound opened in 1991 with an award-winning sound system, bringing New York house legends like Larry Levan and David Morales across the pond. The club also spurred the phenomenon of superstar DJs like Carl Cox and and promoted UK acid house explosion via the likes of DJ Harvey.
Global Dance Comes Stateside
The seeds for EDM’s (electronic dance music) popularity in the U.S. were sprouting in the 2000s. The most mainstream offerings in a broad and previously underground scene, EDM is characterized by big drops and pop tendencies like shorter track lengths and catchy vocal hooks. The new millennium also saw the ever-expanding sound of house officially take root globally, with international artists exporting a glossy version of the sound back to the U.S.
In the early aughts, tracks like Italian Benny Bennasi’s “Satisfaction” in 2002, Swede Eric Prydz‘s “Call On Me” in 2004 and Frenchman Bob Sinclair’s “World, Hold On (Children Of The Sky)” in 2006 cracked U.S. dance charts and solidified the artists as big-name mainstage DJs for years to come. The first two represented the electro house sound that would remain popular into the next decade. Prydz’s 2008 hit “Pjanoo” marked another very Y2K sound: driving, trance-y progressive house.
The 2000 breezy “Groovejet (If This Ain’t Love)” by Italian DJ Spiller and British dance-pop queen Sophie Ellis-Bextor was an Ibiza hit that made its way to American clubs and pointed to the popularity nu disco would have in the ’00s (as seen by Ellis-Bextor’s “Murder On The Dancefloor” and Kylie Minogue‘s “Can’t Get You Out Of My Head” in 2001). UK garage went mainstream as acts like So Solid Crew and Craig David incorporated the genre into chart-topping hits. Black Londoners like Supa D and Crazy Cousinz mixed house with elements from genres across the African diaspora into the captivatingly percussive sound of UK funky.
While French touch/filter house — the Parisian interpretation of house with funk and disco elements popularized by Daft Punk — was bubbling up in the ’90s, it really took off around the year 2000. The genre is exemplified by 2000 singles such as Modjo’s “Lady (Hear Me Tonight),” Demon’s “You Are My High,” and Superfunk’s “Lucky Star,” featuring soulful vocals from Chicago’s Ron Carroll.
In Berlin’s underground dance scene, a melodic, intricate version of house was taking shape outside of minimal techno’s dominance. This was exemplified by M.A.N.D.Y. and Booka Shade 2006 smash “Body Language,” alongside fellow Germans Henrik Schwarz, Âme and Dixon launching their hugely influential label Innervisionsin 2005, expressly indebted to Chicago and Detroit. Beatportal named Âme’s 2005 song “Rej” “the defining track of a whole era,” one that led to the global dominance of what is known as melodic house and techno today.
Underground scenes in San Francisco and Los Angeles blossomed, with the likes of Chicago transplant Mark Farina and the Sunset Sound System crew, and DJ Dan and Marques Wyatt fostering the respective local rave scenes. While Chicago had a bit of a slower creative period than the prior decades, Brooklyn-born DJ Heather was building her legacy as a Chicago house purveyor. Felix Da Housecat (who had released his first single back in 1987 at just 15 with mentorship from DJ Pierre) saw mainstream success in the ’00s, getting tapped for remixes from the likes of Madonna, Britney Spears, and Rökysopp.
Windy City native Honey Dijon was working her magic in New York’s queer dance music underground andfashion scene. In 2008, queer DIY New York collective Hercules and Love Affair, led by Andrew Butler, dropped the sparkling nu disco gem “Blind,” bolstered by a remix from the one and only Frankie Knuckles. On Aug. 25, 2004, the section of Chicago’s Jefferson Street that was home to the original Warehouse was renamedFrankie Knuckles Way.
House Goes EDM
In the 2010s, dance music finally took off in the U.S. mainstream in the form of EDM, and its influence on pop is undeniable. Big room house — essentially house-indebted EDM — gained popularity via songs such as Martin Garrix’s “Animals,” Kaskade‘s “Don’t Stop Dancing” featuring EDX and Haley, Calvin Harris‘ “We Found Love” featuring Rihanna, Swedish House Mafia‘s “Save The World” and Avicii’s “Levels.”
In 2011, massive EDM festival Electric Daisy Carnival moved from Los Angeles to Las Vegas, signaling how popular dance music had become stateside and the unofficial start of the rave industrial complex. Coachella added the clubby Yuma tent in 2013 with the goal of focusing on underground dance music while expanding its original DJ-centric Sahara Tent. The following year, Harris drew the second-largest Coachella crowd at his mainstage, non-headlining set.
Meanwhile, in Chicago, house’s queer roots were blossoming. In 2013, The Blessed Madonna became smartbar’s first woman booker after serving as a resident DJ. Eris Drew and Octo Octa, both trans women, have been expanding the bounds of house and bringing classic, eclectic rave energy since they got behind the decks, while Shaun J. Wright and Alinka have been keeping Chicago house queer and Black with their Twirl parties and label.
Two UK acts, Disclosure and Jamie XX, would bring classic house, specifically UK garage with a modern touch, to the U.S. charts and GRAMMYs with their debut albums, Settle in 2013 and In Colour in 2015, respectively. Disclosure’s success was swift and far-reaching, winning the GRAMMY for Best Dance/Electronic Album for Settle; lead single “Latch” remains their biggest hit and turned then-unknown Sam Smith into a pop star.
Midway through the decade, tech house — which blends elements of techno into a four-four house beat — would begin to take over as the dominant sound of EDM, making superstars of Chris Lake, Hot Since 82 and Patrick Topping and inspiring the next generation of global DJs. This trend was largely driven by Welsh house purveyor Jamie Jones, whose label Hot Creations, producer supergroup Hot Natured, and Paradise Garage-inspired, Ibiza-bred Paradise parties helped popularize a groovy version of tech house.
Elsewhere in Europe, Norwegian DJ/producer Todd Terje kept the spirit of Ibiza’s breezy Balearic house and nu disco alive on his instant-classic debut single “Inspector Norse” in 2012, made using only an ARP 2600 synth. Cinthie, “the Berlin Queen of House,” was keeping the spirit of classic-yet-fresh Chicago house alive in the techno-loving city with her all-vinyl sets and label 803 Crystal Grooves.
South Africa’sBlack Coffee became a global flagbearer for Afro house, a vast umbrella term representing an innovative and disparate group producers and subgenres from the African continent and diaspora, further cemented by Drake sampling his 2009 tune “Superman” on 2017’s “Get It Together,” naming him as a featured artist alongside singer Jorja Smith.
House: The Bedrock Of Multiple Mainstream Smashes
In 2022, ill-informed headlines claimed Beyoncé saved house music with the release of the euphoric GRAMMY-winning single “BREAK MY SOUL” and album RENAISSANCE.
House music didn’t need saving, but it did reach a wider audience and become the sound of the summer while sparking important conversations reminding people that house is a Black American genre. The 32-time GRAMMY winner did her homework and enlisted a bevy of producers, including Honey Dijon and Luke Solomon (who worked on “COZY” and “ALIEN SUPERSTAR”), and samples to pay tribute to dance music’s Black queer roots on RENAISSANCE. Honey Dijon and T.S. Madison— whose “B**ch, I’m Black” speech was sampled on “COZY” — made history as the first Black trans women to earn a Billboard hit.
Drake also brought house (and its rapid-fire cousin Jersey club) tunes to the top of the charts on Honestly, Nevermind with help from Gordo (who previously made EDM as Carnage). Keinemusik heads Rampa and &ME brought their wildly popular driving, melodic, Afro-house-infused sound to “Falling Back” and “A Keeper,” and Black Coffee and Gordo deliver the breezy, Jersey club meets deep house “Currents.”
ARC Festival launched in 2021, as Chicago’s answer to Detroit’s long-running Movement electronic music festival, featuring local legends and big-name DJs from around the globe and reinvigorating the Windy City as a dance music destination. In 2023, the city finally protected the West Loop building that once housed The Warehouse as an official city landmark.
A younger generation of DJs, such as South Korean Peggy Gou, British TSHA and Aluna, Canadian Jayda G and Detroit-born-and-raised DJ Holographic continue to keep the spirit of house alive and fresh. The likes of Aussie Dom Dolla, Chicagoan John Summit and Brazilian Mochakk have become tech house biggest rising stars while coloring outside of the lines.
