Ten City, the successful ChicaGo House music formation originally built around Byron Stingily, Byron Burke and Herb Lawson with producer Marshall Jefferson as a key creative force, is releasing their new album ‘The Next Generation’ via legendary NY label Nervous Records. In this interview, Byron Stingily talks about collaborating with young artists, the album’s house elements, and the role of vinyl as a bridge between tradition and modernity.
Your new album is titled The Next Generation. Does that mean you’re opening a new chapter or taking a new step as a band – musically as well as through the collaboration with the next generation of artists? Especially since you give so much space to young talent on this record.
The focus was on carrying forward the musical legacy while also introducing new impulses. Working with a younger generation of artists who respect music and culture, and who enthusiastically became part of the project, was an enormous enrichment. They all brought fresh ideas and energy – and I was able to learn from them as well. It was especially rewarding to incorporate rap into Ten City’s music, for instance with OVEOUS on “Feel Good” and Ric Wilson on “Hands to the Sky”. El Boogie’s radiant falsetto is a wonderful mix of the Bee Gees and Philip Bailey. Female voices in Ten City songs are something special to me: Mon’ Aerie shines on “Unique” and “Live Your Life”, while Uneq’ka delivers a soulful performance on “Release”.
D. Lyles has a style somewhere between Chris Brown and Craig David, and working with Drama, who already generate millions of streams, was another highlight. In addition, producers such as Gershon Jackson, Shebazz Curtis, DJ Flipside, Paris Cesvette, Plu Harmon, and Joey Fernandez contributed their remarkable skills. Marshall Jefferson provided lyrics, and the background vocals from Gus Lacey, Brandi Shantele, and Kalea Payton gave the project additional depth.
The album opens with “House Again”, which almost feels like a musical statement: Ten City are back in the house genre. Was that a conscious decision? How do you interpret the title – as a personal return, a message, or a tribute to your scene?
House Again is more than just a song title: it stands for the return of house music into the mainstream. The track tells the story of a relationship and reflects tensions within the house community. At the same time, it can be understood as a symbol of social and global unity.
Your sound has always been influenced by soul, R&B, and even gospel. Which musical influences can we find on The Next Generation?
The album incorporates influences from blues, disco, and jazz. The melody of “No Sleep Tonight” is reminiscent of country & western – though without the typical twang. “Man Like Me” is a tribute to Stevie Wonder, and the backgrounds are inspired by DeBarge.
You’ve been shaping the house scene since the ’80s and have inspired many generations. Are there any new artists or trends that inspire you today? How does that show up on The Next Generation?
I draw from today’s music scene, including artists like Calvin Harris, David Guetta, Mau P, and the Afro-house genre. This album blends current sounds and modern technology with genuine musicianship. I also checked out tracks from artists such as Emmaculate, Shebazz, Gershon Jackson, Andrew Salsano (A&R), and Michael Weiss from Nervous Records.
Chicago is seen as the birthplace of house music. How would you describe the differences between the scene back then and today?
The scene has grown globally. Back then, the hotspots were mainly in cities like Chicago, New York, Baltimore, Detroit, Atlanta, and a few smaller U.S. locations. My travels at the time only took me to England, Germany, Italy, France, and Ibiza. Today, you encounter dance music everywhere – in commercials, films, and even in large stadiums.
Your singer describes The Next Generation with the motto: “Stay TRUE while embracing the NEW.” How do you manage to preserve the classic Ten City sound while also incorporating modern influences? What was especially difficult about that?
We always stayed open. We held Zoom meetings with the label and our production team, played both current tracks and classics, experimented with many dance styles, and challenged each other to bring out the best in everyone. The greatest challenge was not taking criticism personally. In the end, we all wanted the same thing: for the project to be as great as possible.
With Emmaculate you brought in a major figure of the Chicago scene. His attention to detail and experience are legendary. How did that influence the album, and how did the two of you reconnect?
I’ve known him since his teenage years. Through a mutual friend, he learned a lot – both good and bad. Even back then I kept hearing from this friend how talented Emmaculate was. We had already worked together before, but this time he took the wheel. I was more in the passenger seat and didn’t really want to keep saying “slow down,” “brake,” or “speed up” – though occasionally I couldn’t resist making a comment.
Byron Stingily’s distinctive falsetto and lyrics that go beyond “club vibes” define your music. Is there a central message you want to convey with The Next Generation?
The song “Love Music” says it all!
You’re releasing The Next Generation first on vinyl, later digitally. What significance does the format hold today – is vinyl more than just nostalgia?
Vinyl is experiencing a comeback, and for us that’s especially meaningful because this album features real musicians. We value artists who master technology but also their craft, as well as DJs who combine vinyl with digital tools. Our aim was to strike a balance – between my generation, Emmaculate’s generation, and the “Next Generation.”
Order the LP on vinyl here.
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