Album Review: wHIMSY by Destin Conrad

For an artist known primarily for slick R&B, wHIMSY is a bold pivot that could have fallen flat—but Conrad mostly sticks the landing, introducing him in a new light without alienating his artistry.

Courtesy of AboveGround Ent / DestinConrad / EMPIRE.

Destin Conrad’s new album wHIMSY is a left-field swerve: an “alternative jazz” experiment born from a manic two-week recording session in Los Angeles. Conrad—a Tampa-raised R&B singer-songwriter who first made waves on Vine and by writing for Kehlani, and whose earlier projects were described as “lush, intimate earworms infused with a gentle touch”—has said he “practically finished this project on a 2 week trip [he] took to LA last month (i’m insane i kno)”, calling it the most fun he’s ever had making music. That whirlwind process imbues wHIMSY with a live-wire energy and spontaneity that set it apart from Conrad’s past work. He’s never wanted to make “just one style of genre,” and here he dives headlong into jazz while keeping one foot in the soulful alt-R&B sound that raised him. The result is both free-spirited and surprisingly cohesive—a record that feels like a smoky after-hours jam session, yet still hits with the lyrical honesty of a contemporary R&B diary.

Musically, wHIMSY lives at the intersection of jazz improvisation and R&B/pop songcraft. The album’s rapid-fire creation gives it a loose, in-the-moment vibe. You can often hear the band stretching out in real time, capturing first takes and happy accidents rather than sanding every edge smooth. There’s a hip-hop undercurrent to the grooves—no surprise with Louie Lastic (known for his work with GoldLink) as the primary producer, but the sonic palette is drenched in jazz instrumentation: nimble bass lines, brushed drums, warm piano chords, and, especially, horns. From the very first track, Conrad commits to this fusion. “wHIP” opens with Keyon Harrold’s trumpet practically breathing smoke in your ear, blowing sultry fills around Conrad’s vocals. That song’s hook (“Tonight I wanna drive your car/Even though I can only go so far”) rides over a neo-soul bounce, but the way Harrold’s horn flutters and ad-libs gives it a live jazz-club ambiance.

Throughout the album, Conrad mostly sings in his established silky tenor—he doesn’t suddenly turn into a bebop shouter—yet the arrangements around him push into jazz territory. For the most part, it’s a successful blend. The tracks feel organic and lived-in, as if we’re hearing R&B musicians jamming with jazz players and finding a common language. Occasionally, the balance falters (Conrad’s smooth, controlled delivery can feel a bit too safe against the wildness of the band—one wonders what might happen if he dared to let loose more), but by and large, wHIMSY’s genre fusion holds together.

A huge part of that coherence comes from the caliber of collaborators Conrad enlisted, who deliver standout performances across the record. Take “wASH U AWAY,” a sultry mid-album highlight. It features veteran musician Terrace Martin, whose saxophone snakes through the track in call-and-response with Conrad’s voice. When Conrad croons “I left your crib this mornin’ and I smell you on my neck, don’t wanna wash you away,” a line dripping with post-hookup intimacy, Martin replies on sax with velvety runs that underscore the longing. It feels less like a guest feature and more like a dialogue between vocalist and instrumentalist. Similarly, on “wHIP,” Harrold’s trumpet soloing nearly becomes a second narrator, adding emotional subtext to Conrad’s tale of yearning to “drive” (read: take control of) a lover’s situation. These jazz flourishes never come off as mere ornamentation; they actively shape the songs. Credit goes to Louie Lastic and co-producer Mack Keane for giving the band room to breathe. The production throughout is clean but unintrusive—a warm, minimal bed that lets live instruments and vocals shine. You can hear subtle touches of Keane’s influence as well (he’s known as an R&B songwriter/producer), perhaps in the lush chord changes and the overall polished mix that keeps the experiment grounded in accessibility.

The vocal collaborations on wHIMSY are just as impactful. “A Lonely Detective” is a prime example, pairing Conrad with jazz singer Vanisha Gould for a playful yet poignant duet. The song spins a noir-ish scenario about an affair with a married detective, complete with witty, detailed storytelling. “He’s got a wife and kids that don’t know what he’s up to/Pictures on the fridge, don’t know who you’re making love to,” Conrad sings matter-of-factly, and Gould’s buttery vocals chime in to answer and harmonize, bringing a classic jazz intimacy to the track. There’s even a touch of humor as Conrad quips, “Pardon my French, but I don’t give a fuck to be another fool to a lonely detective,” followed by a spoken aside counting the illicit months down to “three months and six days and a quarter of a night”—a candid moment that feels like it might’ve been improvised in the studio. Gould’s presence elevates the song, and their chemistry sells the reckless, hearts-on-our-sleeves narrative. Later, on “The W,” Conrad brings in R&B heavyweight James Fauntleroy alongside Astyn Turr to craft one of the album’s smoothest jams. The track is essentially an invitation to a carefree hotel getaway (“You on your way, come stay at the W… No, we ain’t got to check out late, oh baby, we can just stay”), and the trio’s vocals layer in rich harmonies that blur the line between jazz, R&B, and soulful pop. Fauntleroy’s signature falsetto adds a luxurious touch, and Turr’s voice blends right in, making the song feel like a modern take on a Quiet Storm duet. It’s easily one of the most replayable moments on the album—seductive, melodic, and laid-back in equal measure.

Conrad also isn’t afraid to step back and let others take the spotlight when it serves the project’s vibe. The “GLORY” track is actually a spoken-word poem by Bay Davis, placed boldly as the second track. Over a sparse, moody backdrop, Davis delivers lines like “Wanna show you how safe surrender can be when it’s holy… And my God, how selfish we’d be to keep all this glory to ourselves”. It’s an unabashed celebration of the almost spiritual bliss found in physical intimacy. Coming right after the breezy opener, this poetic interlude signals that wHIMSY is embracing jazz’s tradition of poetry and performance art to convey emotion. Midway through the album, “AMBRÉ’S INTERLUDE (BUT JAZZ)” serves a different purpose: over a slinky jazz piano riff, singer Ambré Perkins unleashes a scathing monologue at an inconsiderate man. “Instead of worrying ‘bout me/Go get you some money… I could have your girl if I choose her… You a loser,” she snaps without pity. It’s a striking change of perspective—essentially a guest giving a reality check to the kind of man Conrad might be singing about elsewhere. These non-Conrad interludes could have derailed the album’s narrative, but instead they deepen it, adding context and emotional shading.

Songwriting-wise, wHIMSY shows Destin Conrad at his most candid and conceptually ambitious. His core themes are still romance, heartbreak, and desire, but he approaches them from multiple angles with plainspoken clarity (and occasional blunt humor). On “LOVE!”—which, true to its title, is the album’s most straightforward love song—he asks earnestly, “Love, can we talk? … Is it really hard? Wanna make it mine”. It’s a simple plea for communication and commitment, delivered over a gentle groove, and it highlights Conrad’s ability to be sincere without over-singing. Contrast that with “BOREDOM,” where he intentionally flattens the affect to convey jaded frustration in a withering relationship. “You’re so far and you’re so boring… There’s no spark, there’s no glow/I don’t giggle, I don’t go,” he sings in a deadpan tone, letting the repetition of “boring” hammer the point home. It’s a risky move—writing a song about a lack of passion—but his wry, almost self-effacing delivery makes it intriguingly tongue-in-cheek.

It remains grounded in concrete situations—late-night drives, clandestine meetups, hotel escapades, quiet disappointments. There’s a narrative thread in the sense that each song feels like a chapter of the same book of love: one chapter is lusty and optimistic, the next is philosophical and erotic (GLORY), another is morally conflicted (A Lonely Detective), another is fed up and sardonic (Boredom), and so on. While wHIMSY doesn’t tell a single linear story, it absolutely maintains a thematic through-line. It’s an album-length exploration of intimacy in its many forms, rendered in vivid scenes and blunt confessions. Conrad’s emotional clarity—his willingness to spell out exactly how he feels, whether it’s “I need drama, I’ll take the pain” or “I think I got a thing for a lonely detective”—gives the record a strong emotional center even as the moods swing.

For an artist known primarily for slick R&B, wHIMSY is a bold pivot that could have fallen flat—but Conrad mostly sticks the landing. Compared to the polished vibe of his 2021 EP Colorway or the digital sheen of 2025’s Love on Digital, this album is deliberately rougher around the edges, and it benefits from that looseness. It introduces Destin Conrad in a new light without alienating what makes him appealing. New listeners will get a clear sense of his silky vocal style and frank writing, while returning fans will find plenty of Easter eggs in how he references familiar R&B tropes only to twist them (not many R&B albums name-drop martinis and detectives). wHIMSY might not be an era-defining jazz/R&B record—at times it leans a bit too heavily on jam-session vibe over pop concision, and a couple of songs don’t leave as strong an impression as others – but it’s commendable in its ambition and authenticity. Conrad set out to challenge himself and explore a “whimsical” idea, and you can hear the joy and liberation in the music. In an industry that often plays it safe, this project’s adventurous spirit alone is worth applauding.

Great (★★★★☆)

Favorite Track(s): “wASH U AWAY,” “A Lonely Detective,” “The W”