The True R&B Songs of the Summer in 2025
Yeah, yeah, yeah, we know. We don’t have a definitive “song of the summer” that we can collectively agree on, but for all “R&B is Dead” complainers, the crew listed out their contenders.
The summer soundtrack feels strangely unsettled. Playlists shuffle through hundreds of contenders—dance-floor heaters, breezy hooks, late-night confessionals—yet no single record has seized the collective pulse. Beach bars run by committee: DJs pivot from amapiano to trap-soul, gauging which cut finally sparks that shared cheer. The void is tangible, a restless hush between songs.
Still, pop history thrives on these liminal moments. When one clear anthem doesn’t dominate, listeners roam wider, pull unexpected gems into rotation, and give space to voices that rarely reach the main stage. Streams spike for left-field grooves, and social feeds brim with micro-trends: a funk bass line backing skate videos, a lovers’ rock riff looping behind recipe clips. Each pocket of discovery inches a track closer to ubiquity, raising curious questions about how hits are born in 2025’s fractured attention economy.
Hope lies in that chase. The absence of a crowned champion invites fresh nominations, keeps dance floors unpredictable, and rewards listeners who dig past headline names. Whoever clinches the season will do so by surprise—maybe through a catchy hook that sparks a global challenge, maybe by sound-tracking a pivotal TV scene—but the thrill isn’t just in arrival. It’s in hearing a song loom from the noise, gather momentum, and remind everyone that summer still has room for a magic hook yet to be written in memory.
However, on Shatter the Standards, it’s always a debate for Song of the Summer in 2025, especially in R&B (if you know where to look, except if you’re subscribed). There are songs that we enjoyed, but here’s our curated list.
“New Girl” by Jai’Len Josey
Josey slips into a carefree, retro-leaning groove, fusing the pace of UK garage with a touch of underground New York. Bright keys and bouncy percussion frame her honeyed voice as she sings about the giddy flutter of talking to someone new. She briefly discussed the song as capturing the “cute feeling” when a connection is fresh and playful, and the arrangement mirrors that energy with syncopated beats and a melodic line that skips like a flirtatious conversation. Fans were surprised to find her experiment with uptempo rhythms so addictive; however, the blend of nostalgia and modern bounce quickly gained traction on social platforms. — Brandon O’Sullivan
“Mic On” by Alex Isley
KAYTRANADA supplies a propulsive beat full of clipped drums and understated synths; Isley glides over it with airy harmonies. The track is brisk and danceable, more uptempo than much of her catalog; yet, the producer’s restraint allows her vocal textures to take center stage. She steps lightly through the groove, two‑stepping around the off‑kilter rhythm, hinting at the euphoria of live performance and the thrill of stepping to the mic with confidence. — Tai Lawson
“Kissing In Public” by Destin Conrad
A snare‑driven beat and shimmering keys recall early‑2000s R&B, but the message is unapologetically current. Conrad celebrates queer love openly, throwing caution to the wind as he sings about kissing a partner anywhere, anytime. The infectious hook and layered background vocals (say “Thank you, Sasha Keable!”) evoke the polished sensuality of the Neptunes era, while subtler harmonies evoke a contemporary soul feel. In the song’s video, bold choreography matches the swaggering bass line, underscoring the joy of affection without shame. — Jamila W.
“Can’t Wait” by Eric Benét & Keri Hilson
Over a silky up‑tempo groove built from old‑school guitar licks with the help of Camper, Benét and Hilson trade lines about mutual infatuation. Their voices intertwine seamlessly, and the beat invites movement without ever overpowering them. The duet’s grown‑and‑sexy energy and playful call‑and‑response—each marveling at how good the other looks—invite listeners to get dressed up and step out. The warmth of live instrumentation gives it a throwback feel, yet the chemistry feels entirely of the moment. — Jill Wannasa
“Sleepwalking” by Leven Kali
Kali channels a dreamy chase for connection, layering reggae‑style guitar loops over gentle bass drums and ascending synth lines. The verses float in and out of falsetto, while a steady kick keeps the song grounded. Echoes of 1970s funk and Prince‑like neo‑psychedelia lend the track a woozy warmth; it’s as if he’s walking through a hazy night hoping to catch up with the object of his affection. — Harry Brown
“Suga On the Rim” by Kyle Dion
Dion has another banger that’s reminiscent of classic Neptunes. Lush acoustic guitar sounds and a hypnotic groove swing between pop/R&B and salsa; horns occasionally peek through as he sings about savoring a lover’s taste. The rhythm’s bounce makes it impossible not to two‑step or add a little hip‑sway, and the song’s sugary hook lingers long after. — LeMarcus
“Give It to You” by Mýa
Mýa’s elastic phrasing rides the beat as she promises devotion, crooning, “If you ask me once, I’d tell you twice, I wanna give you all my love.” The arrangement pays homage to funk and R&B pioneers with shimmering keys and bold bass runs, with the help of 1500 or Nothin’, making it feel like a skating‑rink anthem. Her playful ad‑libs invite listeners to dance and share in the flirtatious energy. — Phil
“Folded” by Kehlani
What does Kehlani do on “Folded,” aka one of her best songs in her career? She offers a bittersweet farewell, singing, “Your clothes are folded, come get them while the door’s still open.” The act of folding clothes becomes a metaphor for both care and resignation; she admits she may have overreacted, yet leaves the door ajar for rekindling. Subtle double entendres—“I’ll let your body decide if this is good enough for you”—add layers of sensuality. — Phil
“Kill Switch” by India Shawn
Acoustic/electric guitars, airy pads, and fiery drums by D’Mile create an ethereal atmosphere as Shawn sings about stopping a friendship from tipping into romance. She recognizes the danger of blurring lines, warning, “This could turn from a good thing to hate.” The song’s gentle tempo and hushed vocals amplify the tension between attraction and self‑protection, and her decision to “flip the switch” and keep things platonic feels both vulnerable and empowering. — Jamila W.
“Tyrese” by Terrace Martin & Kenyon Dixon
This uptempo West‑Coast groove is a boastful nod to the R&B icon from Watts whose name it bears. The song’s polished sound—tight snaps, gliding 808s, and slick keyboards—reflects the duo’s blend of church and street influences. Dixon sings, “I got money, women too, but girl, I’m still missing you… feeling like Tyrese, how you gon’ act? Do me like that,” evoking Tyrese Gibson’s classic and flipping boastfulness into vulnerability. The contrast between smooth swagger and yearning heart makes it a song of the summer contender. — Javon Bailey
“Stare at Me” by Jane Handcock & Anderson .Paak
Over a disco‑funk groove punctuated by bass slaps and handclaps, Handcock and .Paak play lovers locked in a silent dialogue. She sings, “Something ’bout the way you stare at me/Think you might have put a spell on me,” winking at a classic R&B hook. He answers with, “I’d do anything to make you look,” matching her flirtation. The breezy soul arrangement feels built for sunset cookouts; the chemistry between their voices brings playful tension and a sense that eye contact can ignite a whole romance. — Brandon O’Sullivan
“Instructions” by Mahalia
A buoyant beat anchored by The Buzz Riddim, Mahalia’s call to the dance floor. She has said the song captures the rush of a great night out—she’d been dancing a lot and wanted to bottle that romance of club freedom. Her sultry vocal lines ride the rhythm as she literally tells listeners what to do on the dance floor, reveling in feminine autonomy. In another interview with Livesphere Magazine, she noted it’s about women taking back control, instructing men rather than waiting to be led, adding a sly edge to the bouncy groove. — Imani Raven
“The Mood” by FLO & KAYTRANADA
KAYTRANADA’s signature elastic bass line and icy synth stabs propel this mid‑tempo jam. The British trio glide across the beat with tight harmonies but flip the expected script: instead of leaning into the sensuality of the track, they use the chorus to set boundaries—“It’s not that I don’t wanna chill tonight… It’s just that I ain’t in a freaky vibe.” The song’s flirty tone underscores that playful reversal; the singers have called it a “fun and fresh take on sex” and said it’s about choosing when the mood is right. The track’s shimmering production and confident lyrics make consent sound both sexy and stylish. — Charlotte Rochel
“Miami” by Odeal feat. Leon Thomas
Opening with little more than a picked guitar, “Miami” feels intimate and warm. Odeal reflects on escape and self‑healing, singing, “Constant running towards that liquor, you wanna heal, you gotta feel quicker.” The minimal arrangement lets his vocal nuance shine, yet the song doubles as a romantic plea; he wants the night to stretch on with the person beside him. Leon Thomas’s cameo adds silky harmonies and the line “I don’t wanna go home, I don’t want this night to end, ’cause I’m kinda scared I might never see your eyes again.” — Ameenah Laquita