Our Favorite R&B Songs of 2026 So Far
The hits are not the story this year. The sleepers are, and 2026 buried more gems in deluxe editions, and stray singles than most full albums hold.
Bring up the year-end chart, and you get one picture of R&B in 2026. This list is the other one. None of the seventy-two songs here had a number to become important, and most never even touched one; buried four tracks deep on a deluxe edition, lead singles from an EP by a writer who’s penned a platinum hit for every other writer in town but himself. The year was too loud at the top and too rich beneath to fit it all, and beneath was where the crew went digging.
This is how we assembled the list. Most of the writers jot down a list of their favorite songs of the year; no requirements as to chart presence or label or sub-genre, just that the song was of consequence this year. The votes that crossed ballot lines climbed quickly to the top of the voting stack; one-off obsessions got fiercely advocated for on the group chat; the seventy-two songs left over are those that even a brutal editor couldn’t argue with. It was a crowded ballot, but a singular hand on the keyboard; that’s why the tone holds, and the taste ricochets.
So consider this list a roadmap to the real ones. A soul veteran singing full and clear well into his late seventies. Songwriters who, after years penning a thousand gold singles for everyone else, finally kept a bullet for themselves; a lead track off an EP that didn’t even warrant a marketing push. Just listen through the seventy-two, in order, and make your case. McKenzie, take it away.
Sevyn Streeter, “‘97”
With a career spanning nearly two decades, Sevyn Streeter has penned tracks for a diverse array of singers, yet has met with absolutely no commercial success as a vocalist in their own right. “’97”—produced by the in-demand D’Mile—is irresistible; its cold, sleek keyboard lines seem to glide effortlessly over a foundation of crisp drum breakbeats. While it remains unclear whether the specific aesthetic is intentionally “1997-esque,” the lyrical content certainly evokes a sense of nostalgia: the narrator confesses that, while they would typically proceed with far greater caution and patience, the object of their desire drives them to the brink of madness—unable to contain their lust, they declare their intention to go wild all night long and start things off right there. In short, it’s pure Adina Howard—specifically, in the vein of her classic hit, “Freak Like Me.”
Ella Mai, “100”
It feels as though Ella Mai has finally delivered a track with enough substance to truly live up to the buzz surrounding her during that time. Unfortunately, Do You Still Love Me? didn’t live up to those standards. In the song, Mai firmly assures her boyfriend that she is willing to do whatever it takes to sustain their relationship—one in which they support each other through difficult times—declaring that love is never a 50-50 split; rather, it is about giving absolutely everything she has within herself. Mustard—who appears in the music video playing the role of a casino dealer—crafts a production that combines the processed vocal samples characteristic of the Y2K era with lush, romantic strings, effectively heightening the track’s dramatic atmosphere.
Sonny Miles & Devy Quills, “120”
From G2, the first release in two years from Sonny Miles, who shot to fame after landing on former U.S. President Obama’s favorite playlist. Although he reportedly adopted his stage name in homage to Sonny Stitt and Miles Davis, his artistic persona is—perhaps surprisingly—quite understated and appeals more to the connoisseur. There is an addictive quality to his lo-fi, sweet-soul sound—a vibe that feels perpetually on the verge of falling apart. Based on the opening verses—which speak of being “crazy about you”—it appears at first to be just another run-of-the-mill love song; however, the mood shifts dramatically in the middle, revealing the truth: he is the victim of a toxic love. And yet, the man refuses to stop taking a chance on love.
6LACK feat. AZ Chike & Leon Thomas, “All That Matters”
The fourth album from 6LACK is a sincere work that marks a distinct step toward maturity. As suggested by the cover art featuring him alongside his kids, Love Is the New Gangsta explores the insights gained through fatherhood, the boundless power of love, and the challenges inherent in responsibly protecting the people who matter most. It is, in short, a truly substantial and rewarding listen. Released as a single concurrently with the album, this track is a quintessential hit-in-the-making—an achingly tender love song featuring lines such as: “Baby, I don’t wanna call you up and hear the ringer ‘cause it feels like/You got somethin’ better, know it’s silly, I’m just talkin’ through it real time/Know I miss you, really wanna kiss you all the time, I gotta have you/Won’t resist it, no, wanna feel it ‘til it’s all that matters.” Both AZ Chike (“Is this love? Or is it lust? Honestly, I say it’s both.”) and Leon Thomas (“And I would take your hand and turn my back on the world/Ayy, ‘cause you’re all that matters to me.”) fulfill their respective roles to absolute perfection.
Elujay, “Bomo”
This cut from the so-called “deluxe edition” of the third album (A Constant Charade) released late last year by Elujay. Five additional new tracks are slated to be added to the release. Driven by a funky drumbeat and enveloped in lush keyboards, the track’s sleek, streamlined groove serves as a farewell to a lover.
Leven Kali, “BREATHE!”
This dancefloor-ready funk number features Leven Kali not only on drums but also strumming the guitar and playing the keyboards. The track teases here, urging them to “feel it all through the rhythm”—a playful taunt implying, “I know you missed it.” I’m not entirely sure why there’s a parrot involved, but it makes for a fun music video.
Elijah Blake, “C’est la Vie”
This Florida-born singer-songwriter has racked up credits on hit songs for artists such as Usher, Rihanna, Keyshia Cole, and Justin Bieber; however, Elijah’s Blake career as a lead vocalist has been marked by a complete lack of commercial success. Both his 2015 debut album, Shadows & Diamonds, and his 2024 comeback effort, elijah., garnered high praise for their musical substance, yet they—true to form—failed to produce any hits. Now transformed into a burly, macho figure, he has released his latest album, THE GEMINI—an effort preceded by several singles that, while possessing a soulful atmosphere, ultimately lacked a definitive punch. “C’est la Vie”—in which he bares his soul regarding the emotional turmoil of being at the mercy of a woman he likens to a “bad drug”—may well be the standout track of the entire album. The hook, delivered in a high-pitched register, possesses a vaguely baroque quality that leaves a lasting impression.
Dua Saleh, “Cállate”
Born in Sudan, Dua Saleh—who arrived in Minneapolis as a refugee fleeing civil war during her childhood—made her EP debut seven years ago; this track was the lead-off from her second album, Of Earth & Wires. The song begins with a soft, hazy, Bossa Nova-esque vibe—and just when its lo-fi production suggests it will proceed with a lighthearted gait, it abruptly shifts gears into drum and bass. The chorus, delivered in raspy high notes, is utterly addictive. The lyrics—asking “I’ve had enough,” “Why would you even want to be perturbed?” and “Why you wanna say hi?”—feel somewhat paranoid and elusive, showcasing a fascinating individuality characteristic of alternative R&B.
Syd feat. Blu June, “Callin’”
For reasons unknown, Syd’s “lover” isn’t answering the phone; yet, she remains undeterred by several missed calls and has no intention of curbing her desires. Blu June is one half of the production duo NOVA Wav, who were enlisted for this track. The funky, bouncing bassline is provided by Raphael Saadiq. My potential ‘song of the summer’ pick.
Casper Sage, “Change Your Mind”
Isn’t this absolutely incredible? It feels like an encounter between 80s-era Prince—particularly his rhythm tracks and those reverb-drenched pianos and guitars—and Frank Ocean. From PATINA, Casper Sage lays bare the emotional instability that follows a heartbreak. Yet, even amidst this emotional turmoil, they cling wistfully to a glimmer of hope. They resolve to leave the door ever so slightly ajar—just in case there remains even the slightest possibility of a fresh start. Signaling that, should their former love have a change of heart, they would be welcomed back at any time.
Tone Stith, “Come to Me”
Just as the single “Fly” doing its big one on the R&B Airplay Chart, Tone Stith’s first album since moving from RCA to MNRK, titled The Edge, finally arrived. In an era where such a style is rare, this artist specializes in a shimmering, sleek brand of pop-soul that is reminiscent of MJ during his Off the Wall era; one wonders if he possesses the potential to find commercial success by slipping into a niche left vacant by others. This particular track is an upbeat, mid-tempo love song in which he sings of a heart-constricting obsession with his beloved—pleading, “Come to me, baby,” and asserting that he has countless reasons to devote his everything to her. Yet, the lyrics open with a string of biblical images, which is indeed, a rather sophisticated piece of lyricism.
Joyce Wrice, “Crack the Code”
Now a decade into his career, Joyce Wrice specializes in 90s-style R&B ballads. Unfolding at a mid-slow tempo that creeps in with a vibe somewhat reminiscent of the classic Isley Brothers, the track features husky vocals that are simply mesmerizing. To drive me wild so gently and calmly like this... oh, I feel like I’m being completely disarmed. I can’t even make sense of it myself—why do I feel this way just by watching your lips move? I absolutely adore the way you speak.
Kehlani, “Cruise Control”
With a 17-year career under her belt—spanning four studio albums and four mixtapes—Kehlani has certainly followed a steady and solid trajectory. Yet, with the release of her self-titled fifth album, she appears poised to reach her absolute zenith—a moment catalyzed by the massive success of last year’s hit single, “Folded.” One could easily launch into a lengthy discourse here, citing past albums titled after their artists’ own names and pontificating endlessly on the trends inherent in such creative choices; however, let’s set that aside for the moment. Compared to her previous effort, Crash—which ventured into somewhat experimental territory—this new album follows what Kehlani evidently considers the “classic path” of R&B. For Kehlani, that “classic path” likely traces back to the R&B of the Y2K era—specifically, the likes of Aaliyah. This explains her decision to enlist Missy Elliott for “Back and Forth,” as well as her choice of duet partners—Brandy and Usher—and the various collaborative tracks featuring a lineup of guest MCs. Precisely because it is more “conservative” in style than its predecessor, this album faces a distinct challenge: it simply won’t feel complete or justified unless it sells exactly as well as—or better than—expected.
Featuring a gorgeous chorus that feels as if an angel has descended from the heavens, this track finds Kehlani exploring the long-term potential of a relationship with a partner whose commitment has historically wavered. She sings: “It’s wild to me/I been alone so long and I’m proud to be/You say you need more, you know how that sound to me?” She cautions that rushing down this path might only make things worse, pleading, “You don’t wanna rush me, let’s just keep this on cruise control.” Aren’t the lyrics, the melody, and the vocals all crafted to absolute perfection? This is, without a doubt, the standout track of the entire album.
Essosa, “Crush!”
Although I don’t make a point of highlighting them every time here, it feels like I’m hearing new tracks with a distinct “Brandy-esque” vibe almost every single week. It bears repeating: Essosa’s influence is truly immense. The title song from the third EP by an R&B singer reportedly raised between Toronto, Canada, and Essex, UK—perfectly embodies a current trend: a rhythm section with a modern edge, paired with keyboards that evoke the sound of the 90s. While the keyboard work itself actually calls to mind the vintage style of Janet Jackson, the lead vocals—for some reason—sound distinctly like Brandy. The backing vocals, meanwhile, channel the spirit of The Emotions. “I think about my summer love in spring/And I feel so overjoyed/Told myself that this wouldn’t be more than a fling/But my heart gave me no choice, ooh”—it became something I simply couldn’t control.” A love of inescapable destiny.
Eric Bellinger, “Cry In Front of You”
Another singer-songwriter who has penned major hits for artists like Chris Brown and Usher while contentedly pursuing an independent career for over a decade, Eric Bellinger now makes his major-label debut with this single, released under the Tamla/Motown imprint (revived by Rodney Jerkins under the Capitol umbrella). Driven by a steady tempo reminiscent of an Isley Brothers ballad, this sophisticated soul track for adult audiences explores the emotional tranquility found within a stable relationship. It emphasizes that love is the force that creates a safe space—a sanctuary where one can lay bare one’s vulnerabilities, sharing every worry and venting every frustration without reservation.
Jalen Ngonda, “Doctrine of Love”
While Jalen Ngonda’s music is undeniably retro-soul—steeped in the signature vintage aesthetic of the Daptone label—his vocals possess a captivating allure: at once sensuous, raw, and powerfully commanding. He is, without a doubt, an artist well worth keeping an eye on. Now, the title track has been released from his upcoming album—his first new full-length project in three years since his debut, Come Around and Love Me. Naturally, he is backed by a full-bodied ensemble—complete with guitars, bass, drums, a horn section, and backing vocalists—as he spares no sacrifice or cost to preach the gospel of love; a doctrine inevitably fraught with emotional ups and downs, delivered in a style that—surprisingly enough—bears a subtle resemblance to the legendary James Brown.
Natanya, “DON’T ASK!”
A banger from Natanya specializing in electric, hyper-R&B. Synths, harpsichord, and pizzicato strings march along briskly; then, as the drums kick in, she rhythmically unleashes a playful chorus hook—“Tell me, you want me, boy (boy)/I’ll give it to you”—before the track culminates in a multilayered swirl of diverse backing vocals and beats. It is complex, yet undeniably catchy.
Miles Caton, “Don’t Hate Me”
Miles Caton has truly broken through as an actor thanks to his role in the smash hit film Sinners—a movie that took home awards in various Oscar categories. Yet his musical career is also gaining momentum; while the track “Somethin”—which we featured here about six months ago—was an independent release, he has now signed with Columbia Records and just dropped a new single. Produced by JT Daly, the track is a piano ballad in which Caton admits that the responsibility for ruining his relationship lies with him. “Don’t hate me,” he pleads, “I know this heart of mine it drives you crazy.” He sang five tracks on the Sinners soundtrack, after all—and he’s ready.
GENA, “Douwannabwitastar?!”
Clocking in at 43 minutes across 16 tracks, the album The Pleasure Is Yours is an impeccable neo-soul offering—particularly for those who enjoyed the single(s) we featured here back in January. Karriem Riggins’ beats are generally laid-back; he deliberately plays with the timing, sometimes dragging the drums behind the beat and other times pushing them ahead. Liv.e’s vocals respond to this with improvisational flair—shifting her timbre, traversing her vocal range, and moving with complete, uninhibited freedom. In the music video released alongside the album, Liv.e lays down her terms to a potential romantic partner, making it clear that she will be neither a mere trophy piece nor a “superwoman.” Whether or not one finds charm in this distinctive vocal style will likely be the deciding factor in how one ultimately evaluates GENA.
Durand Bernarr, “EFFORT.”
Released just one year after Bloom—which won the Grammy for Best Progressive R&B Album a mere three months prior—comes Durand Bernarr’s fourth studio album, BERNARR. This ambitious 17-track, 67-minute opus explores themes of intergenerational legacy, self-definition, and personal evolution. Overflowing with the confidence that comes from having one’s work validated, the album masterfully balances a provocative funkiness (complete with its signature humor) against a pop-friendly accessibility, resulting in a work that far surpasses its predecessor (TO ME). This artist truly possesses a distinct and potent character; even when enlisting heavyweights like Raphael Saadiq and Bryan-Michael Cox for production duties, he invariably manages to infuse the final product with his own unmistakable signature style.
While the album is rife with killer basslines throughout, one particular track—a funk number with a slight samba flavor—stands out for its delightfully humorous tone as it illustrates the consequences of failing to put sufficient effort into a romantic relationship. It opens with the air of a gym instructor: “Do you want the result without doing the hard work? Hate to commute, but keep booking the far work.” Yet, as the song progresses, that playful banter gives way to a biting reality: “Exercise, get your fresh air/Go outside, touch some grass/Extend your life, lengthen your spine/Make sure to hydrate daily, more than twice.”
Tiana Major9 feat. Keyon Harrold, “Energy!”
Set against an intriguing track that infuses slow-motion funk with nuances of reggae rhythm, Tiana Major9, whose petite, stocky physique (reminiscent of a “mini-tank”) stands in playful contrast to a mature, composed alto voice, dances with a bouncy gait while confessing to the surging energy that builds between two people as they are drawn to one another. Proudly emblazoned across the seat of the artist’s pants is the word “Jamaica”—a tribute to their roots.
Felix Ames, “Fell Short, Spun Round”
Felix Ames from Milwaukee who made his single debut four years ago. I wonder if he got dropped by Def Jam after just one album? D’Angelo’s influence echoes throughout, but it’s a great track. Above all, his falsetto—which possesses a certain raw edge—is magnificent, while the noisy guitar, organ, and slightly freaky saxophone add a distinctive flavor.
Anaïs Cardot, “FOMO”
Taken from Map of Her Shadow—the second EP by Anaïs Cardot based in Ottawa, Canada. While I wouldn’t necessarily call this melancholic bossa nova the EP’s standout track, a music video was released simultaneously with the EP itself, so it seems worth highlighting regardless. It is a neo-soul piece characterized by sweet, slightly lisping vocals; the lyrics capture the anguish of someone driven by a fear of being left behind to overextend themselves—taking on too much at once until they are on the verge of breaking—while simultaneously being tormented by the guilt of keeping a loved one waiting as a result.
Baby Rose feat. Leon Thomas, “Friends Again”
Despite a countenance that retains a certain childlike innocence, she begins to sing in a raspy voice—as if the lid to the gates of hell had been thrown open and the ghost of Bessie Smith herself had wandered out—yet her delivery harbors a latent danger: the risk of slipping, with just one misstep, into cheap imitation. On this new track—her first release in two years—Leon Thomas joins her as a duet partner, seemingly in return for her own contribution to his recently Grammy-winning album, Mutt. Baby Rose possesses a vocal power reminiscent of Gladys Knight in her prime; indeed, it is an impressive feat in itself that she manages to draw out a soulful vocal performance from Thomas—a style he rarely showcases in his own work. This outstanding duet traces the evolution of a platonic friendship into a romantic relationship; driven by an intense desire to deepen the bond between them, Rose nonetheless finds herself questioning whether, should their romance fail to blossom, they could ever truly return to being the close friends they once were. While Rose laments—asking, “Why’d we open up that door?” and confessing, “Will we ever be friends again?”—Thomas responds with an active, optimistic assurance that there is no need to extinguish this flame.
Yaya Bey, “The Great Migration”
Less than a year after her previous release, Do It Afraid, Yaya Bey’s fourth full-length album, Fidelity has already arrived. To be fair, there were a couple of singles released beforehand; however—putting the songs themselves aside—the quality of the accompanying music videos was so abysmal that I found myself wondering, “Is this really serving as effective promotion?” Consequently, I decided to pass on covering them at the time. The album itself, however, boasts a rich and substantial tracklist that comes highly recommended for anyone who enjoyed her previous work, clearly expounding that she is currently one of the most creatively prolific R&B songwriters in the game. Led by mellow keyboards, this uplifting track—which conveys the message that light awaits beyond prayer and tears—evolves from a lush, soulful arrangement accompanied by jazzy trumpet flourishes into a full-blown drum and bass breakdown.
GAWD, “GTA”
My jam! From an LA-based women duo, GAWD, the very same pair who recently appeared on Durand Bernarr’s Grammy-winning album. While the music itself is a lush, “Quiet Storm” style of soul—featuring vocal harmonies that drip like honey—the lyrics tell a rather different story. Pulling up to her beloved’s place in a coupe with the intention of getting down and dirty is one thing. It turns out to be a wild, reckless ride—something you’d never imagine based on the musical vibe alone. Still, their vocals are truly magnificent.
KAIRO, “HALO”
The thumbnail might give some of you a bit of a start, but rest assured—they’re twins. KAIRO consists of twin brothers who were born in Nigeria and raised in Houston. While they typically specialize in an Alternative R&B sound that leans heavily toward dream pop, this new track feels like a relatively straightforward R&B offering. It’s a heartfelt outpouring of emotion from a man grappling with love; the melodies in the verses possess a distinct melancholic shade and are rich in atmosphere, and the interplay between the twins’ tenor and baritone vocals is simply magnificent. Furthermore, the chorus hook (“You hover on my mind/Just like a halo/And girl you know you shine/Just like a halo”)is delightfully catchy.
Ari Lennox, “High Key”
I approached this release with tempered expectations. After all, Ari Lennox’s signature style is typically defined by upbeat, bustling tracks, but the slower-tempo songs, which make their debut on this album, turned out to be absolutely superb. Under the supervision of Elite, the lean production—incorporating live instrumentation—creates an expansive sonic landscape in which the vocals are free to roam and soar with effortless grace. In stark contrast, on the frenetic, Trap-style tracks that are supposedly the artist’s forte, one actually senses a distinct lack of breathing room for the vocals. The decision to feature only a single guest artist (Buju Banton on just one track) seems to help the singer’s self-assurance. One standout track, which samples the R&B classic “This Is My Dream” by Switch, is one of several songs on the album exploring themes of sexuality; delivered in a sultry, intimate tone, it depicts the search for a partner capable of eliciting moans of pleasure in the bedroom. Centered on that eternal question women pose to men, this third album (Vacancy) is the first truly accomplished R&B vocal album of 2026.
Thundercat feat. Lil Yachty, “I Did This to Myself”
Produced by Flying Lotus, the unexpected collaboration is a funk number that kicks off with an instantly killer bassline. It captures the moment of realizing—with a jolt—that the object of your obsession is subtly turning you down. Thundercat laments in falsetto, asking them to “just play dumb” solely to grab his attention; meanwhile, Yachty steps in to preach, telling them to stop pretending to be too busy, acting as if they actually have work to do, especially after he went to the trouble of clearing his entire schedule for them. Yet, given that the other person isn’t interested in the slightest... it makes for a delightfully goofy track.
Al Green, “I Found a Reason”
The legendary artist has released To Love Somebody earlier in the year, a four-track EP marking his first release since the 2008 album Lay It Down on Fat Possum. The accompanying photo depicts him looking like a rather frail old man, but at 79 years of age, that is perhaps to be expected. While his vocals show moments of fragility, considering his advanced years, they remain abundantly soulful. The lead single is a remake of R.E.M.’s “Everybody Hurts” (originally released in the autumn of 1994); the EP also features a rendition of The Velvet Underground’s “I Found a Reason,” while the title track is, naturally, a cover of the Bee Gees. With Charles Hodges on organ, Leroy Hodges on bass, and Lester Snell providing string arrangements, the record conjures up an authentic vintage Memphis soul sound.
Justin Garner, “The Icing”
From songs you can feel—a new 6-track, 19-minute EP by an R&B singer from Baton Rouge, Louisiana, Justin Garner, with a career spanning over a decade. With a smooth, sweet tenor voice, he offers a straightforward expression of his feelings for the beloved person who saved him when he was at his lowest.
Kelela, “idea 1”
This single from Kelela—known for her signature brand of electronic alternative R&B—hints at her past as the frontwoman of a rock band, infusing the track with a distinct shoegaze sensibility. Produced by Oscar Scheller—the artist behind the massive remix of PinkPantheress’s “Stateside”—the track opens at a languid tempo; drumless and atmospheric, it features dreamy guitar lines intertwined with ominous synthesizers. Yet, without warning, a noisy, swirling wall of guitars suddenly looms large, as mesmerizing vocals layer atop one another in a moment of startling intensity. She finds herself standing at the crossroads of a crumbling relationship—yet she is frustrated by the realization that she is the only one who seems to acknowledge its impending collapse. You’ve lost, haven’t you? I’m sick of this. Don’t you realize that this isn’t right? Don’t look away.
Giveon, “Jezebel”
Ten months after the release of Beloved—one of the best R&B albums of 2025 that his pub didn’t show love—comes Beloved: Act II, a “deluxe edition” arriving in keeping with current industry trends. Typically, newly added tracks are tacked onto the end of an album as bonus material; here, however, five new songs have been incorporated right at the beginning. The likely reason for this arrangement is the sheer quality of the new single that kicks things off.
It makes for a magnificent, wild opening—something entirely absent from the original Beloved—driven by a bassline-heavy funk sound reminiscent of early 80s Luther Vandross. Or perhaps it evokes The Gap Band’s “Outstanding”? Or maybe Maze featuring Frankie Beverly’s “We Are the One”? There are even horn riffs that call to mind Boz Scaggs’ “Lowdown.” Lyrically, it’s a rather angst-ridden love song—quintessentially the lament of a man who’s been dumped—bordering on the pitiful: “You share your love from time to time/To no surprise, another man will have what’s mine/Can you tell me what he wants from you?/And I don’t mind it/Pretty Jezebel/Got you right here/You did it before/Tonight, you’re mine/Jezеbel, mine.” That said, the four tracks that follow consist of a rapid-fire succession of duets featuring a star-studded lineup of guests—Kehlani, Leon Thomas, Sasha Keable, and Teddy Swims—which leaves one feeling that the artistic integrity of the original album has been somewhat diluted.
Destin Conrad, “LALALALA”
Following the release at the end of summer of wHIMSY—a 25-minute jazz vocal project comprising 11 tracks—comes the so-called “Deluxe Edition,” wHIMSY!, now expanded to 43 minutes with the addition of seven new songs (and even sporting an exclamation mark!). If a physical release is ever produced, this lavish version is definitely the one I’d want to own. This particular track—a bossa nova number—is the album’s grand finale; it offers a languid, seductive invitation: “I know that’s it’s hard/When you get a chance/Let’s go in my arms/Every time you go.”
Charlotte Day Wilson feat. Saya Gray, “Lean”
Charlotte Day Wilson’s melancholic vocals, reminiscent of Sade, but with a touch of migraine-induced blues, are truly addictive. Her phrasing is pure Sade, too; in the race to become the next Sade, she looks poised to outshine Cleo Sol—who, on SAULT’s latest release, is practically giddy with her husband Inflo over the prospect of an “inevitable victory” against their rival (Little Simz), much like the old Imperial Japanese Army. Saya Gray is a Canadian avant-pop singer with a Japanese mother who made her album debut last year.
Victoria Monét, “Let Me”
The first new release in two years from Victoria Monét—who won a Grammy for her debut album Jaguar II two years ago (confusingly, the unnumbered Jaguar was an EP released three years prior to that)—is a sensual ballad produced by Camper that evokes the mid-1980s Minneapolis sound. In it, Monét lowers her guard and reveals her vulnerability to the object of her affection, then—with a lush, sultry allure—presses them to make a decision: will they take her as their lover? While she possesses a lovely vocal timbre, I question whether the song and its production truly make the most of that asset; though, of course, whether I give a damn if it becomes a “hit” for these useless stans. But overtime, it became of my year’s favorites.
Tia Gordon, “love”
The standout track from the latest release—the third EP titled i asked the stars for this. x—by the lovely Tia Gordon. I told myself I’d never fall in love again... but that was a lie. I’ve always taken shots blindly; if I try one more time, will I just fail all over again? You are worth it—worth trying for, again and again and again. Backed by little more than a guitar and bass, the lyrics feature a striking use of repetition. It is a study in simplicity, allowing the artist’s soulful vocals to truly shine.
Jai’Len Josey, “Love Ain’t Shit”
Ever since last year’s “New Girl,” every uptempo single released by this 23-year-old Atlanta native has been impressive—so much so that I’ve become a devoted fan. Now comes her long-awaited debut album, Serial Romantic. Having originally entered the industry as an acclaimed songwriter, she penned nearly every track herself; across the 13 songs and 41-minute runtime, she self-produced half the material, while the other half was handled by the now-legendary Tricky Stewart. An album title like “Romance Addict!” might sound like something straight out of the 1980s Japanese idol scene, but this record actually delves into themes of sex, betrayal, primal submission, and the earnest desire to never sell oneself short. While her uptempo tracks feature a powerful vocal delivery that would make even Beyoncé take notice, the slower numbers—essential to the album’s overall flow—showcase a more restrained, yet equally magnificent, vocal style. This is undoubtedly a strong contender for the 2026 Best Debut Album award.
This 90s-R&B-style slow jam serves as a narrative sequel to the preceding skit, which depicts the aftermath of being betrayed by a boyfriend. Just when you expect her to come out swinging, she takes an unexpected turn: instead of picking a fight, she offers an apology. She admits that there was never any real potential for the two of them—no shared goals, no plans for the future. She then soulfully pours out her surging sorrow, lamenting that while she wishes she could still believe in fairy tales, they are merely well-worn fictions—a journey from ecstasy into an incomparable hell, a pain that is simply unbearable.
SAULT, “Love Does Not Equal Pain”
Speaking SAULT, the first album of the year—unannounced as always—is Chapter 1, the latest offering from the husband-and-wife duo Inflo and Cleo Sol’s spiritual funk project, arriving nine months after their last release. While they typically switch up their sound with every outing, this time they’ve crafted a style heavily infused with fuzz guitar and strings—an auditory panorama reminiscent of a cross between David Axelrod and Portishead. Although the album does feature a co-written track with Jam & Lewis, it bears almost none of their signature stylistic hallmarks. Personally, I much prefer their previous album, 10.
Ego Ella May, “Love Is a Heavy Thing”
Born in South London to Nigerian parents, Ego Ella May made her EP debut in 2013; her debut album, Honey for Wounds (2020). Consequently, this new release—Good Intentions—marks her second full-length album. It is a quintessential neo-soul record that evokes everyone from Minnie Riperton and Syreeta to Amel Larrieux and Erykah Badu. While it certainly possesses a wonderful atmosphere, her vocals truly shine brightest on tracks with this sort of jazzy sensibility, and “Love Is a Heavy Thing” is no different.
Zo! & Tall Black Guy feat.Gareth Donkin & Debórah Bond, “Make or Break”
This collaborative project—marking a reunion for this Detroit-based producer and beatmaker duo, their first since 2018’s Abstractions—arrives as the new album Expansions. Featuring a vocal lineup ranging from veterans like Sy Smith to established artists such as Debórah Bond, Darien Brockington, and Nicholas Ryan Gant (!), as well as rising talents like BeMyFiasco and Lyric Jones, the record is a chic R&B album that seamlessly weaves together elements of soul, funk, jazz, hip-hop, and house, occasionally taking on a symphonic flair courtesy of string arrangements by Pirahnahead’s Soulchestra. The duet between Bond and Gareth Donkin—whom I only recently disparaged as a mere “El DeBarge impersonator”—grooves along funkily as it captures the back-and-forth hesitation, from both the male and female perspectives, over whether to take their relationship to the next level or bring it to an end.
India Shawn, “Marmalade”
Subject to Change marks her fourth EP overall, yet it arrives four years after her sole full-length album, Before We Go (Deeper); much like that album, it is entirely produced by D’Mile. While the title translates to “subject to change,” India Shawn is—naturally—not referring to prices or schedules, but rather to romantic sentiments; she actively embraces the uncertainty that the ebb and flow of fluid emotions brings to life. That said, the core of this 18-minute, six-track release consists of “Kill Switch,” “Cotton Candy Blvd,” and “Rain On Me”—tracks that have already been released as singles and previously featured here. “Marmalade” is a bright, provocative love song, featuring a faintly ska-esque rhythm and a 70s-retro aesthetic reminiscent of Japanese kayo-style disco. “If you wanna show me/Put your words away/Make me feel it/Knock on my door/Bring that marmalade.”
Mýa, “Masterpiece”
I never could have imagined that Mýa would go on to build a career spanning a quarter of a century—though, admittedly, her latest release, Retrospect, marks their first album in almost a decade. What’s even more surprising is the inclusion of several tracks that dive deep into the Minneapolis funk sound of its heyday. Given that this artist hails from Washington D.C., I find myself wondering: did they ever actually cross paths with Prince or Jam & Lewis back in the day? Regardless, it feels refreshing—and simply good—to hear a funk number in the classic early-80s Prince style again after all this time. Naturally, the lyrics follow a decidedly sexual theme. You’ve got to keep up with the rhythm, stay right on the beat, and become one with the music. So take your time—there’s absolutely no need to rush.
Alex Isley, “Maybe Again”
Having made her EP debut in 2012—followed by two full-length independent albums and two collaborative works—she has already built a substantial career; yet, this major-label debut from Warner, When the City Sleeps, stands as a strong contender for the title of Best R&B Album of 2026. With tempos ranging from slow to mid-paced, the production is stripped of all excess—lean, simple, and laser-focused on the vocals. It is a lush, “Quiet Storm” style R&B album of astonishingly high caliber. The ballad that brings the album to a close elicits Isley’s finest vocal performance to date, featuring a languid beat that stirs the emotions with a sense of unsettling vulnerability. Through it all, she remains unsure—lacking the confidence to know whether the very things she desires are truly what she needs.
Devon Gilfillian, “Moonflower”
Devon Gilfillian’s third single, and finally, they have returned to their signature retro-soul sound. Guided by lush, evocative strings, this is a love song that quietly contemplates a “Queen of the Night” cactus—a beauty that remains just out of reach, yet to which one is irresistibly drawn. “You’re a beauty that’s untold/A mystery I unfold/A place I’ve never known but that I’m trying to get to/You’re the sirens’ melody/The sweetness of the breeze/And when you open up, it’s everything to me.”
Tank and the Bangas feat. Lucky Daye, “Move”
For this Grammy-Winning, New Orleans-based funk band, Tank and the Bangas wasted no time campaigning their “Balloon Trilogy” (following Green Balloon in 2019 and Red Balloon in 2022)—setting aside, of course, their spoken-word project The Heart, the Mind, the Soul from two years ago. Driven by a groove where guitar, bass, and drums intertwine with a brisk, syncopated bounce—a sound akin to a fusion of African Highlife and New Orleans Bounce—Tarriona “Tank” Ball playfully seduces the listener, while fellow New Orleanian Lucky Daye offers a soulful retort; together, they dance with a mutual desire to draw ever closer to one another.
Ebubé, “Mr. Postman”
While “Eres Mi Sol” channeled the vibe of 1970s Marvin Gaye, is this latest release perhaps a cover (or something similar) of some obscure ‘70s yacht rock track? The premise certainly feels quite dated. The lyrics feature Ebubé pleading with the mail carrier not to deliver a letter, specifically because it’s a breakup note from his girlfriend, but one has to wonder: do young people these days actually bother writing breakup letters? Aside from the pitch-tuned vocals, the overall aesthetic feels less “retro” and more simply “anachronistic”; yet, the melody itself remains quite memorable.
PJ Morton, “Mutual”
True to form, the maestro Morton continues to favor a sound production style heavily steeped in the vibe of 1970s Stevie Wonder; yet, his new collaboration with the up-and-coming EJ Ross is a piece of “Samba Soul” that captures the fluttering excitement of falling in love. The handclaps provide a delightful touch, while the trumpet duties are handled by Keyon Harrold. Recognizing the inherent fragility of romantic feelings—and the consequent need for absolute certainty that one’s emotions are truly reciprocated—Morton strives desperately to reassure his beloved, making every effort to ensure she feels cherished and secure. “So tell me how you’re feeling,” he urges; “You don’t have to be afraid.” It is, in every sense, a piece of romantic soul music—a gentlemanly serenade designed to win her heart.
Nectar Woode, “Naturally”
To be blunt, Nectar Woode does have a tendency—however slight—to churn out songs that all sound rather similar; yet this particular track is exceptionally well-crafted. From the undulating melody and lithely bouncing vocals to the surging rhythms, the subtly interwoven backing harmonies, the organ, the guitar, and the saxophone—every single element is absolutely flawless.
Stokley, “Needs Love”
Having made their album debut in 1991 (though the band itself was reportedly formed in 1984), Mint Condition released what stands as their final album to date in 2014. Spanning a full quarter-century, the group truly persevered—and thrived—during an era that was otherwise barren for funk bands. That is precisely why, even if lead vocalist Stokley’s subsequent solo career has been somewhat lackluster, I cannot bring myself to utter a single word of criticism. His falsetto remains undiminished, and the production—which gradually builds and enriches the sound through the addition of guitar, percussion, bass, organ, and harp—is excellent.
DJ Harrison, “OG Players”
For his fourth release on Stones Throw, and as a multi-instrumentalist producer who also happens to be a member of Butcher Brown, DJ Harrison has taken a different approach than usual; rather than handling everything entirely on his own, he has enlisted his bandmates and invited various singers and rappers as guests. Consequently, it comes as no surprise that tracks featuring vocals by Yaya Bey and Yazmin Lacey were selected as lead singles and accompanied by music videos. However, the real intrigue lies in the other tracks, which include several hard-hitting funk numbers—reminiscent of a cross between early Funkadelic and Sly & the Family Stone—where guitars run wild and organs roar. That said, the album title ElectroSoul is likely to be quite misleading; rest assured, the sound production bears absolutely no resemblance to that of D-Train. It’s still fire.
Omarion, “The One”
Although his appearance—resembling a Rasta or a hippie—hardly suggests that of a former idol, the moment the music begins, Omarion steps lightly while delivering smooth tenor vocals, confidently bringing the full weight of his career to bear. The production is superb, possessing a slightly retro vibe—as if The Neptunes had reimagined a 70s R&B “steppers” beat for the Y2K era; riding this comfortable groove, Omarion declares that he has finally found the partner he has long been searching for. This track serves as a lead single from O2—reportedly a sequel to his solo debut album, O, released 21 years ago—and arrives while he is doing a reunion tour with B2K.
Brent Faiyaz, “other side.”
Brent Faiyaz’s new album, Icon, appears to have undergone a drastic overhaul: reportedly, the project was scrapped and completely rebuilt from scratch just prior to its originally scheduled release last September, meaning the double-sided single “tony soprano” / “peter pan”—released last summer—is not included in the final tracklist. At first glance, the music might sound like nothing more than generic retro synth-R&B; however, if you take the time to listen closely, you’ll discover it is truly excellent—downright addictive, in fact. Spanning ten tracks and 33 minutes, the album reinterprets the romantic devotion characteristic of classic soul music from a variety of modern perspectives; the opening sequence—running from “wrong faces.” through “have to.,” “butterflies.,” and “other side.”—is particularly magnificent. In striking contrast to his rugged appearance, his delicate tenor voice possesses a unique, captivating texture—especially when layered in the choruses—that is unlike anything else you’ll hear today. It is a full-throttle, solo effort with absolutely no guest features; and while Raphael Saadiq is credited as a supervisor, his presence is virtually imperceptible.
Devin Morrison, “Pump the Blood”
Following last autumn’s “Cinema,” Devin Morrison presents a contemplative slow jam featuring a beat that vaguely calls to mind the classic R&B hit “Juicy Fruit” by Mtume. With its delicate tenor vocals, the song is absolutely brimming with atmosphere.
Elmiene, “Reclusive”
Produced by Jeff “Gitty” Gitelman, “Reclusive” builds from elegant piano chords, pizzicato strings, and crisp funk drums into a soundscape that is both concise and playful. It’s the perfect match for the humorous lyrics, which capture the internal tug-of-war between the comfort of solitude and the urge to connect with others: “Even in the darkest times/Even when I’m in the light/I keep to myself.” All that aside, from the infectious chorus hook to the seamless transitions, the song is incredibly catchy and melodious—Elmiene truly possesses a gift for songwriting.
Teedra Moses, “Single”
Teedra, Teedra, Teedra Moses. A diva who debuted with the now-classic Y2K-era Quiet Storm R&B album Complex Simplicity (2004), she has—despite remaining active in recent years—just released a standout single that marks a welcome return to form. It features elegant, understated vocals; a musical style that is sophisticated yet approachable and unpretentious; and a smooth, emotionally resonant delivery. Fellow New Orleans native PJ Morton provides an arrangement in which light piano and guitar lines drift effortlessly atop a grooving bassline and a simple drum click; the addition of vinyl-style crackle and pop effects further imbues the track with a distinct vintage vibe. Through this song, Moses offers a response to the question she is constantly asked: “Tell me why you single?” She affirms that while she has chosen to be single of her own volition, she remains open to finding her ideal partner—signaling that she feels safe and at ease when she is with you, and that she has finally found exactly where she belongs.
Dondria, “Solitude”
Following a recent string of EPs, Dondria finally gives us the lead single from the upcoming full-length album Back to Love, set for release in October, marking the artist’s first LP in fifteen years, dating all the way back to their debut album. It expresses a desire for a moment of quiet solitude—a chance to shut out the surrounding noise and engage in a period of self-reflection. “Just one of them days/When I need to be by myself/In my own little corner.” Produced by Ryan Copeland, the track delivers a lush, sophisticated “Quiet Storm” style of soul. While it might strike the casual listener as somewhat understated, it is the kind of “grower” track that becomes utterly unforgettable the more you listen to it.
Kareen Lomax, “somewhere in the world”
Produced by Daoud Anthony—who handled all the instrumentation and programming himself—the track features a’ 70s-style soul aesthetic that sounds as if David Ruffin himself might start singing at any moment, as Kareen Lomax laments the passing of a family member. This track is taken from her latest EP, ijan—a six-song, 16-minute release that marks her first new project since Hard Feelings five years ago.
Isaiah Falls, “Taboo”
Hmm... doesn’t this sound pretty good? “Taboo” from this Florida-based R&B singer Isaiah Falls—who released the first half (“Side A”) of her debut album, LVRS Paradise, last year—is steeped in the lush, silky atmosphere of Quiet Storm soul, conjuring an intimate vibe that suggests a complete, unhesitating surrender to a lover’s carnal desires. “Seductive, but you’re so dangerous/No judgement if you only feel lust/I got lost the very moment we touched/I blushed, I blushed, I blushed.” Now, if your reaction to all that is, “What the hell is this nonsense?!”—well, I’m afraid R&B just isn’t for you. Sorry.
Debbie, “The Rain Isn’t Over”
It may be a strange way to put it, but Debbie truly excels at crafting sorrowful songs. Apparently, a few years ago—prompted by the passing of her mother—she recorded a demo that she subsequently set aside and forgot about; yet, it is a deeply evocative ballad that compels the listener to feel every ounce of emotion, as she navigates her heartache with a tone of quiet, stoic restraint.
Jordan Ward, “Themselves”
The music video was released simultaneously with BACKWARD, the follow-up album to the artist’s 2023 debut, Forward. The track is a groovy number reminiscent of 80s synth-funk—and given Jordan Ward’s background as a dancer, the visuals are absolutely spot-on. Although they rely heavily on Auto-Tune, the style possesses a smooth yet somewhat quirky, humorous tone that proves surprisingly addictive. As for the writing, they embody a post–Frank Ocean sensibility—laying bare a jumble of confused emotions in such an unvarnished manner that, at times, it becomes a bit exhausting to keep up with, but still catchy.
Isaia Huron, “This Girl Wants Everything”
Isaia Huron landed a deal with RCA—perhaps thanks to the buzz generated by his captivating self-produced album, CONCUBANIA, released last summer. It is a remarkable transformation, considering that just six months ago he was still hustling for gigs online; this track is one of the standouts from his major-label debut album, Mr. Lovebomb. As usual, he wrote and produced the song himself, using it to lament a one-sided romantic relationship that feels more like a business transaction. “She need a house and a plane to ensure that she stay, yeah.” What a predicament. The production style bears a slight resemblance to D’Angelo.
Justine Skye, “Thong”
Amidst the atmospheric pulse of a house beat by KAYTRANADA, Justine Skye begins to sing in a sultry, husky voice—announcing, right off the bat, that she’s going commando tonight. Don’t be so gauche as to ask what happens next. To put it concisely, one might describe this as “R&B of the heat”—rather than the “R&B of the confession.”
Dave Hollister, “Thought You Knew”
Hmm—judging solely by the photo, I couldn’t quite tell who it was, but when I saw that the title Dave Holliser? Instant click. As a product of the New Jack Swing era, I used to think his sound leaned much more heavily on the influences of Charlie Wilson and Aaron Hall; however, perhaps he underwent a stylistic conversion during his hiatus? He has now fully committed himself to the “Sam Cooke school” of singing—so much so that listening to him feels just like hearing a significantly rejuvenated Gerald Alston! I thought you knew just how much I loved you... but now you finally understand, don’t you? Don’t forget: our relationship isn’t over yet, is it? Being signed to Death Row (weird), the track is produced by Snoop Dogg and Soopafly. It seems that lately, with October London leading the charge, Death Row has completely transformed into a veritable stronghold for mellow, retro-style soul—wouldn’t you agree? (Who am I even asking...?) There’s been talk of a BLACKstreet reunion, but personally, what I’m really eager to hear first is a solo album.
MALIA, “Touch”
A West Coast-based neo-soul diva who first made a name for herself nearly a decade ago, Was the opening act for Syd’s tour. Since then, she has released—let’s see—four or maybe five albums? (The ambiguity stems from the fact that I can never quite tell the difference between her EPs and her full-length albums.) While I have my doubts about her stage name, which is utterly unoriginal and confusingly common, given that you could probably find at least two dozen other artists in the Latin music world using something similar, but “Touch” is truly excellent. It exudes a sultry, sexual allure that responds perfectly to the sensual tension gently built up by the interplay of guitar, organ, drums, and bass. It’s the kind of sound that would surely bring a smile to the faces of both Prince and D’Angelo.
rum.gold, “Walking Dead”
At the time, rum.hold also set to release Is There Anybody Home?, his first full-length release since 2023’s U Street Anthology. The album is structured in two parts: Part II, Act of God—which features two tracks previously highlighted on this publication—was released last November, while the upcoming release appears to comprise the complete 11-track album, including Part I, Friend of a Friend. The lead single from this project grapples with the emptiness left in the wake of a broken relationship, posing the haunting question: “Have you ever caused a still-breathing body to grieve?” Perhaps what makes this track even more unsettling is its delivery—rather than the artist’s signature explosive falsetto, the vocals unfold in a dispassionate, smooth high register.
Jenevieve feat. Jordan Ward, “Waiting Room”
Just around the time of release, Jenevieve’s previous single, “Head Over Heels,” claimed her first-ever number one spot on the MediaBase R&B Radio Charts—and now, her latest track has arrived. The production is a stylish affair with an undeniably addictive quality: soft minor chords and a synth bass create a slightly edgy atmosphere, while drums programmed with a subtle swing propel the rhythm forward. Amidst this soundscape, Jenevieve and Jordan Ward find themselves ensnared in a romantic trap—waiting anxiously for one another, each worrying that they might simply be wasting their time. And yet... “I’ll be waiting.”
PawPaw Rod, “White Chocolate Chips”
Six years after his debut—and following four EPs—PawPaw Rod has finally arrived at his debut album, Picture Day: A PawPaw Rod Album; true to form, it delivers exactly the brand of funkiness we’ve come to expect. This closing track, driven by a syncopated groove that calls to mind either Sly & The Family Stone or the classic TK Funk sound, spins a tale of sweet, sugary romance: “Okay, I’m in/You know ya quite convincing/I’m cool off them/I’d rather rock with you/As tight as it gets/A bond that can’t be broken/The blues went bliss.”
Dames Brown, “Who Do You (Think You Are)?”
Dames Brown? ...Is that a pun? They are a trio of “dames,” or rather, *ladies* (with a capital L)—who possess a striking presence and powerful vocals to match. However, given that their label is Defected (a dance music imprint), I couldn’t help but be haunted by nightmares of those early-90s vocal units: groups built specifically for house music that would vanish into obscurity after just one or two albums. Perhaps that is why they enlisted the help of Amp Fiddler, who passed away two years ago, though I can’t say for certain if that was the specific reason. In any case, their recently released debut album, Take Me as I Am, features some tracks tailored to club music genres like house and techno, but it also plays it safe by hedging its bets with a healthy dose of retro soul and funk. And as it turns out, the latter type of tracks are actually quite excellent. One particular standout is an “Uptown Soul” number in the vein of Hot Wax or Invictus, strongly reminiscent of their Detroit predecessors, Honey Cone.
Quail P, “Wouldn’t Try Again”
With a look and a stage name that scream “rapper,” this young blues singer from Florida, Quail P, delivers soulful vocals while playing the guitar. After his independently released single “What You Got” racked up over 50 million streams, he officially signed with Epic, marking his major-label debut with this track. He argues that if a love you once felt was genuine no longer feels that way, the relationship should be brought to an end, insisting that it is utterly futile to let a relationship stagnate into a mere routine of complacent familiarity.
Tink, “You Deserve”
With a career spanning nearly fifteen years, Tink has churned out such a prolific stream of albums, mixtapes, and EPs that it’s hard to keep track of exactly which release this is; regardless, it marks her first full-length project since the mixtape Winter’s Diary 5, released a year and a half ago. Titled Fuck, Marry, Kill—a nod to the popular game where players choose from three options in response to a given celebrity’s name—the album consists of fifteen tracks clocking in at forty-seven minutes. My verdict? Hmm... it’s a decent enough album, I suppose. The disconnect between its seemingly provocative exterior and its surprisingly conservative core isn’t really a flaw unique to this artist, but rather a reflection of the inherent nature of the R&B genre itself. Take this particular track, for instance: it’s a love song in which she pitches herself to her boyfriend as the ideal “good wife and wise mother”—ready to turn into a total freak (if the situation calls for it) to meet his needs. She sings about cooking his favorite meals in the kitchen just like his own mother would; about being fully prepared and waiting for him the moment he gets off work; about serving him dinner and feeding him dessert; about wanting to treat him like a king; and about being his “freak” to help him de-stress. It paints a worldview where the man reigns supreme—a world where male dominance is simply the natural order of things. Of course, what would actually happen if they were to get married is a whole other story entirely.
MarcLo, “Zoom Out”
A Florida native currently based in LA, MarcLo released his first EP under his own name in 2017; 11 Days marks his full-length debut album. The title, fittingly enough, reportedly refers to the exact amount of time it took to create the record. This particular single is a disco-funk track that encourages us to stop overthinking things and simply trust that everything will work out as it’s meant to. We often get so caught up in searching for meaning that we lose sight of ourselves—but it’s okay; that’s perfectly fine. Just try taking a step back and looking at things from a little distance.