...and to fix the song in their heads by giving them the heart of it - the meat of it - right at the start. At least, that's the theory - and, judging by Chic's extraordinary success, and by the number of disco records that used the Chic template, it seems to have some merit.
The other thing I hadn't realised until Nile Rogers pointed it out is the lack of a traditional instrumental break in the middle of "Le Freak". There's a whopping one-minute instrumental break, certainly, but there's no standout single-instrument solo - no wailing guitar, for instance: the musicians just keep the groove going. Not much good for rock, I suspect, but great for encouraging dancers to strut their stuff (or for sedentary listeners to perform the white man's underbite), and to crank up tension as everyone waits for the verse or chorus to return. But let me not digress...
Staring a song with the chorus isn't a technique invented by Nile Rogers and Bernard Edwards, of course. This obscure 1960s band did it a lot:
When you've composed a chorus as hauntingly beautiful as the one on Dolly Parton's "Jolene", why wait to share it?:
1. Choruses often use fuller instrumentations with busier rhythms.
2. Chorus melodies are usually placed in a higher range than verse melodies.
3. Chorus chord progressions are harmonically stronger than verse progressions.
If you're not listed-out yet, there's a good inventory of notable chorus-first songs on the Songfacts website.