Written by Jeff Weiss (Issue 52)

Photography by B+

When Dâm-Funk stepped onto the L.A. scene, spinning rare boogie and modern soul, he didn’t just revive a genre; he redefined it. His synth-heavy sound on Stones Throw Records sparked a global resurgence in funk, bridging generations with analog warmth and cosmic cool. But for Dâm, this was only the beginning.

Born and raised in North Pasadena, Riddick grew up immersed in a diverse sonic environment. His earliest memories include soulful playground soundtracks at nursery school and listening to stations like KACE, KROQ, and KLOS. Inspired by everything from Curtis Mayfield to Iron Butterfly, his eclectic musical upbringing shaped the refined yet gritty aesthetic he would later call “tranquil funk.”

In high school, he played drums in the jazz band and spent his nights experimenting with analog gear, eventually dubbing his own cassette tapes with self-designed covers. These early recordings hinted at his lifelong mission: to balance beauty and toughness, romance and reality. Pasadena’s funk scene—smoother and more boogie-oriented than neighboring Compton or Inglewood—left a permanent mark on his musical DNA.

His mentorship under Leon Sylvers III further grounded his work in the West Coast funk lineage. But his journey was anything but glamorous: a series of odd jobs, from delivering blood for the Red Cross to mopping bathrooms in Reno, funded his creative pursuits. It wasn’t until a remix of Baron Zen’s “Burn Rubber” caught the attention of Stones Throw founder Peanut Butter Wolf that his career took off.

2009’s Toeachizown was a landmark—a five-LP funk odyssey that sounded both nostalgic and futuristic. Dâm-Funk fused G-funk swagger with boogie smoothness and abstract chords, all anchored by his singular vision. Tracks were both intimate and streetwise, cosmic and grounded. It wasn’t retro. It was revolutionary.

Now, Dâm-Funk is embracing evolution. While funk remains his foundation, he sees it as a launchpad—not a limitation. “I’m getting more lyrically attuned to my thoughts,” he says. “It’ll always be funk, but I can’t do funk all the time.”

His sophomore album with Stones Throw reflects this growth. Featuring guest spots from Q-Tip, Ariel Pink, Nite Jewel, and Jody Watley, the project showcases his genre-blurring instincts. Tracks like “I Don’t Want to Be a Star,” “Virtuous Progression,” and the Minneapolis-inspired instrumental “Surveillance Escape” reveal a more introspective artist, unafraid to push beyond expectations.

And yet, despite his evolution, Dâm-Funk remains a purist at heart. He built L.A.’s beloved Funkmosphere club night, earned co-signs from underground peers and mainstream legends alike, and continues to preach the gospel of real, raw groove. “Funk was first,” he insists. “Everything that I do is funk-based.”

He may have started out as the lone L.A. funksta, but Dâm-Funk has since become its high priest—guiding the genre’s future with integrity, style, and a keytar slung over his shoulder.