Album Review: JAGUAR II by Victoria Monét

Victoria Monét returns with a major-label debut, and an album of the year contender.

Victoria Monét, an R&B singer-songwriter, has been crafting her musical identity behind the scenes, likening herself to a jaguar that waits for the perfect moment to strike. She ​knows a ​thing or two ​about sneaking ​up on people. ​After all, ​she went from ​auditioning for ​a Darkchild-sponsored girl ​group that ​never took off ​to becoming ​a celebrated songwriter by writing for some big-name artists and ​picking up ​Grammy nominations for ​her work ​on Ariana Grande’s ​thank u, ​next. But despite ​her success, ​the crowd still ​doesn’t know ​her name. So ​she adopted ​the apex predator ​as her ​alter ego, and ​it must ​have worked because the sequel to her beloved EP, ​originally planned as ​the second ​in a series ​of three ​EPs, was promoted ​to a ​full-length album.

On 2020’s JAGUAR, she first explored the metaphor of the stealthy black jaguar—representing the dual roles she’s inhabited over her decade-long career. She’s been an architect behind the scenes, penning hits for pop royalty. And she’s been a solo artist distilling silky R&B for the masses.

The title was also an apt summation of Monét and producer D’Mile’s muted, inward-looking world-building. Now, on her adventure on RCA Records with her newly-formed Lovett Music, Monét emerges from the underground. She embraces the broader reach of a major label, yet thankfully, she and D’Mile stick to their winning minimalist formula. They sidestep verbosity in favor of restraint and hazy nostalgia.

Where JAGUAR positioned Monét as an impermanent and immediate force, JAGUAR II sees her claim her rightful spot in the limelight. No longer content to creep in the shadows, the R&B jaguar is on full display. Monét and D’Mile may have toned down the instrumentation, but her vocals remain as soft and sultry as ever. What’s changed is her willingness to share that gift with the masses. Monét is ready to be heard—and with JAGUAR II, her moment has arrived.

Her long-awaited major-label debut album is a sequel and follow-up to her 2020 EP. Monét's ​first LP ​is a fresh ​take on ​populist R&B, with ​a sound ​that harkens back ​to the ​harvest-gold hues of ​the 1970s. ​It’s an album ​that pays ​homage to the ​analog textures ​of '70s soul ​music, complete ​with plush velvet ​paintings and ​even plusher video ​treatments. Slick ​and professional without ​feeling impersonal, ​JAGUAR II is ​a vision ​of R&B’s golden ​age, designed ​to appeal to ​both old-school ​fans and new listeners.

Monét’s first single, “Smoke,” featuring Lucky Daye, is a delightful addition to the genre of lighthearted and catchy songs paying homage to cannabis. The track is a fusion of ‘70s funk/soul and reggae vibes, partly due to D’Mile, Tim Suby, Yogi, and the trumpet sounds of Arnetta Johnson. The lyrics are filled with playful 420-themed lines, but Monét’s smooth vocal performance truly brings the song to life. She sings about the joy of sharing a smoke, her voice flowing effortlessly over a rich bassline. As the music unfolds, it’s enhanced by a mix of horns, organs, and sparkling electronic elements.

Lucky Daye adds his verses and vocal flourishes. While some of his lyrics might seem a bit cheesy, their combined performance on the bridge is harmonious and memorable. In the extended music video version of the song also featured on her debut with the reprise version in the next track, Monét takes a more subdued approach, her voice floating over gentle guitar strums and a hushed sitar. This stripped-down reprise serves as a calming conclusion to the energetic track.

The second single, “Party Girls,” featured Buju Banton and was inspired by a bassline played by D’Mile. Monét was immediately drawn to a Caribbean vibe and decided to step outside her comfort zone by contacting Jamaican reggae and dancehall veteran Banton to collaborate on the song. The production was later adjusted to lean more into the dancehall style.

“On My Mama” incorporates a Southern twang by sampling Texas rapper Charlie Boy’s 2009 track, “I Look Good.” Monét built the song around a distinctive guitar sound heard at the beginning, which reminded her of the original track. She initially wasn't sure about including the sample. Still, she felt it added a balance of masculine and feminine energy to the song, a sentiment that Charlie Boy and his team appreciated. She sings, “I’m so deep in my bag, like a grandma with a peppermint”—a sly reference might be corny if you can’t relate.

Victoria Monét infuses her songs with attitude, flavor, and sensuality—rendering them irresistibly infectious. Sonically, JAGUAR II is a cohesive triumph. The tracks build and flow into each other seamlessly. While Beyoncé may reign as the queen of horns, Victoria gives her a run for her money in incorporating them into production. She also utilizes wind instruments masterfully in several songs.

The LP honors Monét’s Black Southern roots, blending classic and modern styles across genres and generations. Live instrumentation—horns, bass, drums, strings—feature prominently, though she takes a KAYTRANADA-assisted house detour on “Alright” to remind us she can produce digitally too. Monét is nothing if not versatile. “Cadillac (A Pimp’s Anthem)” is a metallic funk highlight marrying OutKast’s grandeur with her clever metaphors.

“Stop (Asking Me ​4 Shyt)” ​is a song ​that could ​have been sung ​by a ​jazz diva a ​century ago. ​The lyrics about ​people ​looking for ​unearned favors are ​delivered with ​the same level ​of frustration. ​Monét sings, “Stop ​askin’ me ​for money, get ​your own/I ​barely even just ​got on.” Still, her delivery ​is more ​reminiscent of mellow ​'90s R&B. ​She adds a ​modern twist but ​mercifully avoids trying ​to rhyme ​anything with “Cash ​App,” which ​is only visible ​in the ​expensive-looking music videos.

The first JAGUAR included a too-brief interlude echoing Earth, Wind & Fire in their prime. Speaking of the iconic group, she ropes them in for “Hollywood,” a nostalgic reflection on fame augmented by Philip Bailey’s vocals and Verdine White’s bass. EWF’s influence also informed “Goodbye,” a slow exhalation with strings, brass, and group harmonies over a smooth rhythm. Above all, Monét comes across as an everywoman, no matter how personal or fantastical she gets, with an ability to sound authoritative without raising her dulcet voice.

Monét embraces social media yet crafted an “anti-algorithmic” album in an era of rewarding direct-to-consumer optics. JAGUAR II draws on musical touchstones but is a modern work. Despite only 11 tracks, it packs dimensionality and texture. It marks a new peak and the end of an era for this once-clandestine artist now dancing in the disco ball’s prismatic glow.

Standout (★★★★½)

Favorite Track(s): “Cadillac (A Pimp’s Anthem)” / “How Does It Make You Feel” / “Hollywood” / “Goodbye”