Chicago-based hip-hop artist Ric Wilson is on a spiritual campaign to usher in a new era of disco music, one that’s primed for dance floors and rooted in Black radical traditions. The charismatic emcee, known for his genre-blending approach that fuses house, disco, funk and hip-hop, has just released his first proper solo project in seven years, America Runs on Disco, via Free Disco/EMPIRE. Wilson’s communal music carries an outsider’s spirit, designed to move bodies and help listeners navigate whatever challenges they face.
Wilson conceived the EP during the tumultuous 2024 U.S. election season, channeling the world’s post-lockdown strangeness as it slid deeper into instability. As he reengaged with his career and attempted to move forward, Wilson observed the beauty and fragility of a good time—how the dance floor functions as collective escapism from deteriorating conditions and an uncertain future. The project features production from Jafunk, KMB, Norbz, Crl Crrll and Yung Franco, with Wilson celebrating the EP’s release at a triumphant Juneteenth dance party in Chicago.
What inspired “America Runs on Disco” and its message?
Last year was an election year, and there was a lot happening. I think it was after the first assassination attempt that I started thinking about how America has always been this crazy place, but especially now. The disco part comes from the fact that disco music was created by queer Black and Brown folks. It was underground music that became really popular and created different cultures and genres. People don’t realize that the first DJs were disco DJs, and that’s where MCs came from.
I came up with the name about two years ago when I was on tour. We stopped at a Dunkin’ Donuts, and it just popped into my head. I needed to put a theme to the name. This is technically an EP leading to my debut album. I was going to release it around election time last year, but things got pushed back.
Chicago is the birthplace of house music. What’s your personal connection to the genre?
My personal connection to house is always summertime, warmth, barbecues, uncles in sandals. When I think about house, I think about the little spider bikes—those little motorcycles the OGs ride around playing “Percolator” or “Computer Love.” House is the sound of Chicago summer, and that’s why I wanted this project to come out in summer. Several songs are very house-influenced.
How do you blend disco, house, hip-hop and funk without losing your identity as Ric Wilson?
I think Ric Wilson is that blend. My personality is funky, my relationships and connection with my community are soulful, and my movements are disco. I just happen to be a poet too. Rap is just poetry, so when you put all that together, it naturally blends.
Chicago artists have a distinctive energy. What makes the city’s musicians unique?
It’s that realness, that grittiness. There are only so many cities that have that and also have this deep interconnection with Black people across America. Everyone’s grandmother in Chicago is from Mississippi, and then people left Chicago to go West. Look at Kendrick Lamar—his father and one of my friend’s fathers worked at a KFC together across from the Robert Taylor Homes, then moved to the West Coast. Kendrick’s story is literally the story of Black migration in America.
How does it feel to have carved out such a unique space in music?
I don’t know—I feel like I’m just in it now. We started this around 2019, and it’s taken time to get people to listen, not to understand it, because I don’t think music should be understood—it should just be heard and appreciated. When Beyoncé and Drake came out with their house albums, it created conversations about dance music and its connection to American Black culture. Those opened doors for artists like me, Channel Trans and Honeymoon John.
Your performances always create joy and movement, even when addressing deep topics. Where does that energy come from?
I used to be an organizer around 2014-2016, and I was the bullhorn kid at protests and marches. I saw how easy it was to move people with anger, and I thought, if I can move people with this, if I can start a riot, I can start a dance party. There’s power and beauty in both. To truly be one with the people, you have to be able to do both. I’m not just the guy on stage—I’m dancing with y’all. We’re all dancing together.
I remember opening for Azealia Banks at the Concord. Her music is so undeniable that when she performs and moves, people just start dancing. I was inspired by that energy and wanted to incorporate more house roots into my songs. If I could have that undeniable quality plus the energy I bring, the show could keep getting better.
I noticed something interesting at Pitchfork when I saw Jamie xx perform. Even though he was just a DJ, people were listening more—it was more ears versus eyes. With bands, people tend to chat, but when it’s a dance party, there’s no time to talk. Something about that feels spiritual.
What do you want listeners to take away from “America Runs on Disco”?
I want people to go outside, start a grill and play the whole thing. Go outside, cut the grass, do the whole thing. I want people to get excited because the debut album is on the way. We’re looking for partners right now—it might be Empire, but we’ll see. The album name is inspired by Marvin Gaye, by his albums and songs.
How can people find you?
They can Google Ric Wilson, go to the website, or go outside to the grocery store and ask somebody who Ric Wilson is, then Google together. I’m pretty active on Instagram. I’m not really active on Twitter since they took away my verification. I’m on Threads too, but that’s still developing. I’m kind of on TikTok, but not really—I just post and leave.
Wilson’s America Runs on Disco represents more than just a musical project—it’s a cultural statement about the power of dance, community and joy in the face of uncertainty. As he prepares for his upcoming EU/UK tour, Wilson continues his mission to remind us that sometimes the most radical act is simply getting people to move together on a dance floor.
