Somehow, we did it. By the eternal grace of God, we’re halfway through the 2020s.
And let’s be real, this half-decade has been half-ghetto so far. But let’s stick to the positives, and believe it or not, I come bearing great news: When I planned to sit down to share the best R&B projects of the 2020s thus far, I expected it to be a struggle. Let’s face it, in terms of impactful R&B, the 2020s can’t measure up to the 70s … or the 80s … definitely not the 90s … and not the 2000s. The 2010s? Debatable but even that might push it.
But after revisiting five years of R&B for this post, I was pleasantly surprised by how much great music we received. Obviously most of these released didn’t alter the trajectory of the culture like Usher’s Confessions but what many of these releases lacked in visibility, they soared in innovations.
We saw legends return in top form. We saw a new generation of artists cement themselves as the current standard bearers. And we saw many, many artists proudly embrace and build upon R&B’s historic sound. There will always be trend chasers, but, on this site, we celebrate the trendsetters, and we have plenty to honor.
Let’s look back at my picks for the 25 best R&B projects of the half-decade so far. I won’t officially rank them yet – we’ll wait until the decade ends to do that – but these albums prove it’s way to soon to plan R&B’s homegoing services. R&B’s heart still beats.
Honorable Mentions:
Trey Songz, Back Home
Durand Bernarr, Dur&
Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, Dinner Party
Toni Braxton, Spell My Name
Thundercat, It Is What It Is
Shawn Stockman, Foreward
After 7, Unfinished Business
Jam & Lewis, Volume One
Alex Isley & Jack Dine, Marigold
Lady Wray, Piece of Me
Eric Roberson, Lessons
Steve Lacy, Gemini Rights
Mac Ayers, Comfortable Enough
Mac Ayers, Magic 8ball
Leon Thomas, Electric Dusk
Leon Thomas, Mutt
Joy Denalane, Willpower
NxWorries, Why Lawd?
Mario, Glad You Came
Sy Smith, Until We Meet Again
Rochelle Jordan, Through the Wall
Rochelle Jordan, Play With the Changes
Jenevieve, Crysalis
Eric Benet, The Co-Star
Joyce Wrice, Overgrown
Chloe X Halle, Ungodly Hour (2020)
Funny story: This album dropped on the same day I published my June “Best Albums of 2020 – So Far” list. That left Twitter screaming in my virtual face for leaving them off that list. But obviously I couldn’t wedge an album that was literally four hours old onto that list. Playa, I’m good, I’m not THAT good. That said, the critics were right – not only did Ungodly Hour deserve to be on that list, it reigns not only as one of the best R&B releases of 2020, but of the entire decade. What really helps Ungodly Hour stand out from the pack isn’t just the duo’s heavenly vocals, but their nuanced and mature approach to relationships. They’re wise beyond their 20-something years. It’s a youthful, exuberant release that never wallows in immaturity – a lesson even some R&B veterans should heed. Their solo ambitions haven’t gone nearly as well as this, but props when it’s due – Ungodly Hour is heavenly.
India Shawn, Before We Go (Deeper) (2022)
Before We Go (Deeper) is essentially India’s 2021 EP with seven new tracks added on. But the project doesn’t feel like a retread – the new songs flesh out an already solid EP into an unquestionably great album. D’Mile has been R&B’s MVP producer for several years now, and his influence helps India to raise her game. Throwback soul and midtempo grooves make for some of the best R&B songs this calendar year, with the previous tracks just being icing on an already delicious cake. India’s stunning vocals, D’Mile’s strong production and the duo’s solid chemistry prove that the second time around can be even sweeter.
LAYA, Um, Hello (2022)
When you’ve been doing this album review gig for as long as I have – longer than some of you reading this have even been music fans, sheesh – it’s pretty rare that a new artist comes along with something so new and fresh that you’re completely caught off guard. That’s why I was so happy when that girl LAYA came through to shake the table. Um, Hello is her first release under the Warner Records umbrella but mostly includes her independently released material. That’s fine by me, because those songs KNOCK. LAYA’s trippy production – from woozy beats to blends of Missy Elliott and Brandy hits – and her offbeat personality make every song an adventure. Whether she’s cosplaying as Sailor Moon or beating down haters on “Bitter,” every track has a quirky authenticity not seen since the days of Timbaland’s Supafriends. In a game where her peers are happy to stick to the script, LAYA is tearing up the pages and writing her own rules. We need more of this.
Anthony Hamilton, Love is the New Black (2021)
When I ranked Anthony Hamilton’s entire discography it was prior to this release dropping. Had I waited just a tad it would have been very high on that list – I’m talking No. 2 or 3. It’s mighty impressive that an artist whose career spans 25 years can surpass some of his greatest hits, but that’s just what Anthony did with Love is the New Black. Although Hamilton delivers the usual heaping helpings of sonic soul food he’s known for, this album truly excels when he takes chances. Whether it’s flexing over trap drums with Lil Jon or belting out a show-stopping duet with Jennifer Hudson, Hamilton continues to keep you guessing all while maintaining his trademark cool.
Ledisi, The Wild Card (2020)
It kinda feels a bit ridiculous to call Ledisi underrated when her career has such highlights. More than a dozen great solo LPs, more than a few top 10 singles, 12 Grammy nominations – yet sometimes it feels like props still come in short supply. Well, if you haven’t before, it’s time to pay homage. The Wild Card is not only Ledisi’s first independent release, it’s one of her strongest projects in recent memory. The Wild Card is a masterclass in R&B – a soaring journey that blends genres and sounds into compelling relationship commentary. Each cut here is sturdy – there are no gaps or filler – making for a complete listening experience. The Wild Card wound up being the best R&B release of 2020. Less underrating, more appreciating.
The Shindellas, Hits That Stick Like Grits (2021)
How exactly would you describe the Shindellas to a curious R&B fan? Well, it’s almost like if 1994 Brownstone studied the stage presence of 1964 Supremes and wrapped themselves in the aura of your fave 2021 Instagram fashion influencer. Basically, they’re what the game has been missing. The Shindellas are more than just a nostalgic throwback to girl groups gone by – they’re an evolution of the foundation that R&B stood firmly on for the better part of 50 years. Their debut, Hits that Stick Like Grits, is a testament to the legacy of their influences but affirmation that their soulful sound can find an audience today. Live instrumentation that bursts with energy. Hand claps straight outta grandma’s choir stand. Well-written lyrics that provide both strong storytelling and substance and, yes, THE RETURN OF BRIDGES. What a time. It’s unfair to call Hits that Stick Like Grits a throwback to the way R&B used to be. From the strong songwriting, the engrossing production and the impassioned vocals, this is just how R&B SHOULD be.
Raheem DeVaughn & Apollo Brown, Lovesick (2021)
Four words: I. Told. You. So. When I heard that Raheem DeVaughn (the hardest working man in R&B) and Apollo Brown (arguably hip-hop’s most unsung producer) were uniting for this project, I smelled an R&B album of the year contender. Your boy is (almost) never wrong. Raheem’s vocals are tailor-made for Apollo’s soulful stylings, which is why Lovesick is such a perfect match. R&B’s Love King is in all his regal glory here, delivering bedroom burners and silky slow jams effortlessly. Top-tier MCs like the veteran Skyzoo, next-up Westside Boogie and underrated 3D Na’Tee are great additions too. Lovesick is a standout in Raheem’s already impressive catalog.
Snoh Aalegra, Temporary Highs in the Violet Skies (2021)
Y’all remember when the Twitter Children decided to christen Snoh Aalegra as “the new Sade?” Snoh herself spoke up, showing love for the legend while calling the comparisons unnecessary. Similarities aside, she’s right, Snoh is her own artist and Temporary Highs in the Violet Skies is a smoldering affirmation of her own legacy. Finding a mellow middle ground between its pop and hip-hop influences, Snoh’s dreamy production and jazzy tones have become the hallmark for her takes on love and life. Production from Tyler, the Creator and the Neptunes provide a slight bit of edge, keeping Snoh from edging into complacency. Yeah, I see the similarities, but make no mistake – Snoh is her own woman and this album is some of her best work.
Tyrese, Beautiful Pain (2024)
Tyrese has been through it – just ask him. And while you can certainly question some of his more public antics – y’all know I have – there are two things you can’t take away from him: his passion and his talent. Beautiful Pain is a heavy but mesmerizing look at Tyrese’s romantic struggles, leaning heavily into 70s-inspired production and performances. Despite it being a lengthy project, it rarely drags, thanks to Tyrese’s stirring performances. Seriously, it’s some of his best vocal work in his career. Heartbreak always makes the best music, and Tyrese is keeping that tradition alive.
Lalah Hathaway, VANTABLACK (2024)
Despite my reputation for wildin out when garbage music infiltrates my airpods, I’m never reactionary when it comes to my music takes. If I write it or said it, I put a lot of thought into it. So when I went on social media and proclaimed that VANTABLACK is likely Lalah Hathaway’s best album ever, many of y’all said it was recency bias. Well, that bias must be mighty strong because weeks later I haven’t changed my mind. Lalah has always been blessed with one of the most enduring, yet underrated, voices in modern music. She’s always had great songs. The production has always been solid. But on VANTABLACK, all three of those elements come together like never before. The album’s title refers to the deepest shade of black, so, true to its name, this LP is an exploration of blackness on the deepest levels. It’s an submersive yet empowering experience that brings the listener into Lalah’s journey while bringing them closer to their own. All of her projects are strong but this is her blackest, and likely, her one best yet.
Ari Lennox, Age/Sex/Location (2022)
Not long ago, over on the digital deathly hallow known as Twitter, a few friends were participating in a spirited debate: Is Ari Lennox on her way to becoming this generation’s Mary J. Blige? Well, Mary J was the voice for young women in the 90s. And after listening to Age/Sex/Location, Ari’s sophomore album, it’s becoming more clear that she could be that voice for women in the 2020s. Ari’s warbling, raspy vocals and unflinching honesty made 2019’s Shea Butter Baby a standout release. Impressively, Age/Sex/Location builds upon that foundation with improved and more varied production, all while retaining that realness that makes her music so relatable. It’s Ari’s best project to date, an honest reflection of modern relationships that doesn’t shy away from turmoil but refuses to dwell on it. There’s an optimism here that’s been lacking in music of so many of her peers. Add the stellar production and it’s a major win for a rising star and a genre that’s ready for new blood to push it ahead.
Jon B., Waiting on You (2025)
They say good things come to those who wait, so Jon B’s fans finally got the blessing they’ve deserved. Waiting on You, Jon’s first release in well over a decade arrives on a R&B landscape that’s somewhat light on worthy contenders. That means all eyes are on him, and he seizes the moment. Waiting on You is a powerful return to form that honors his ‘90s R&B roots while incorporating modern production polish to upgrade his sound. As always, the writing is sound and several of the vocal performances are downright stunning. It’s refreshing to see a veteran artist deliver exactly what his fans want, with a few fresh twists here and there. Waiting on You is Jon’s love letter to them.
Goapele, Colours (2023)
Six years feels like an eternity in the supersonic world of music, but for Goapele, timing is everything. And there’s no better time for her R&B reemergence. True to its name, consider Colours as a kaleidoscope of sonic stylings. From gentle acoustics to homages to peak Prince, Colours dares to explore new soundscapes with each track, all wrapped in Goapele’s alluring, gentle vocals. Colours wraps up in less than a half hour, but Goapele maximizes every second – there’s not one bit of filler to be found here. Goapele’s catalog has always been strong, and Colours keeps that streak alive. It’s proof that absence does make the heart grow fonder. I’m just glad she’s back.
Durand Bernarr, Wanderlust (2022)
Durand Bernarr should be more than a star, this guy should be the center of R&B’s current universe. His 2020 effort Dur& was a pleasant surprise but Wanderlust raises the stakes in every way possible. Durand’s music is so fresh because he refuses to compromise who he is – every song bursts with personality and energy. One minute he’s dismissing his date because homie looks better than Durand (and we can’t have THAT), the next he’s running to the powder room because his bladder can’t keep up with his martinis. Tie that wit to well-crafted songs and vocals that can bring down a house and you have one of the most engaging listens of the decade so far. Durand’s music isn’t just fun, it’s smart and 100% authentic to who he is.
Alex Isley, When (2025)
Alex Isley was literally born to do this. R&B royalty is her birthright. Although her previous projects were solid, I was a bit worried that she may fall into the trap of similar artists who failed to evolve their sound. Thankfully, When bucks that trend. The EP may only features six songs, but it’s arguably her most daring and dynamic release to date. Sometimes she’s sweet and sensual, other times she’s confident and cocky but her vocals remain pristine and her songwriting retains its poetic edge. When is a glimpse of an artist willing to evolve both her career and R&B as a whole.
Lucky Daye, Algorithm (2024)
Unless you’re new here, you know this site has been the home of four irrefutable words: Lucky. Daye. Don’t. Miss. We’re three albums in, and I still don’t see a lie. Algorithm once again pairs Lucky’s inventive songwriting with top-tier production, including input from R&B MVP D’Mile. But don’t expect a rehash of previous LPs Painted or Candydrip. Algorithm embraces a rock aesthetic that does wonders to diversify his sound, as well as keep the listener’s pulse pounding. The fingerprints of Lenny Kravitz and Prince are all over this project, but it’s Lucky’s expert songwriting and willingness to experiment that makes this more than a tribute to previous eras. The first half of this album alone features some of the best sequencing and production in recent memory. Algorithm positions Lucky as heir apparent to the throne. He was destined to be here – he doesn’t miss, after all.
Lady Wray, Cover Girl (2025)
If you know Soul In Stereo, you know my affinity for Nicole Wray – specifically her 1998 debut album, which still remains an all-timer in my personal collection. Nearly 30 years later, Lady Wray is far removed from her rookie year, and I’m here for the growth. Cover Girl her latest venture into throwback soul, a record with production that cracks and hisses like your grandfather’s old vinyls but with songwriting that reflects modern experiences. Lady Wray marries vintage soul and gospel to provide a warm, uplifting journey through faith and relationships. From the live instrumentation to the soaring arrangements, it feels like Lady Wray brings the Easter Sunday choir to your doorstep to sing you through your troubles. It’s another massive step forward for an artist who remains in constant evolution.
Lianne La Havas, Lianne La Havas (2020)
Lianne La Havas’ self-titled album is one of the most underappreciated R&B releases of the half-decade. Maybe that’s due to its acoustic nature and folk-leaning production, but don’t be intimidated – it’s a warm, soaring LP that deserves a spot on your playlists. La Havas has a knack for making every song feel personal and relatable, using her guitar and soft rasp to pull you into her world of heartbreak. Featuring some of the year’s best songwriting, La Havas uses her soothing backdrops to pull you into her story of rebounding from a failed relationship. But she’s rarely bitter and never crass – there’s something uplifting about her journey. Those levels are what make this album so strong.
Musiq Soulchild and Hit-Boy, Victims & Villains (2023)
Interestingly, I remember a lot of confusion – even doubt – when word leaked that Musiq Soulchild would be teaming with Hit-Boy for a new project. I get it – Musiq will always been known as one of the stalwarts of 2000s-era neo-soul, while Hit-Boy was more recently known as the creative genius behind Nas’ masterful King’s Disease series. But many fans missed the deeper connection – Musiq has always been in touch with his hip-hop roots and long before his days with Nas, Hit-Boy cranked out R&B hits. This pair was a match made in hip-hop soul heaven, and Victims & Villains is their hymnal. Though it’s just 10 tracks long, the pair have undeniable chemistry, with Musiq gliding over soulful cuts and harder-edged beats with ease. The result is one of the better albums in Musiq’s two-decade long career and another win for hip-hop’s reigning king of production. I never doubted.
Kali Uchis, Red Moon in Venus (2023)
You never know what you’re going to get with a Kali Uchis release, and that’s what makes her music so intriguing. Kali has spent the past five years bending multiple musical genres to her will but her latest (and possibly best) album, Red Moon in Venus, mainly plants its roots in R&B. I ain’t mad. There’s still plenty of room for experimentation, though. Kali bounces from jazz pop to Afrobeats as she explores love and femininity, but the soulful backdrop keeps everything in sync. Kali wisely uses Red Moon in Venus to push sonic boundaries, making this one of the most innovative musical journeys in recent memory.
Lucky Daye, Candydrip (2022)
I remember diehard Lucky fans being a bit nervous early on when it looked like his sophomore effort, Candydrip, might detour into more … gasp, mainstream lanes. But that’s just a necessity for a rising star like Lucky. Trust me, it all works out. Candydrip is a confection that marries both modern-day stylings and more traditional soul into one cohesive package. Some of the production is absolutely gorgeous, and Lucky knows how to match his vocals in kind. He don’t miss, after all.
Cle Soul, Mother (2021)
Songstress Cleo Sol made her name as one of the voices behind the vastly overlooked group Sault, but her second solo effort proves that she’s a force in tandem or rolling dolo. Mother is exactly what you’d expect from its namesake – a warm, soulful exploration of both motherhood and feminism. The delicate, jazzy production and Cleo’s airy delivery make this one of the most beautifully sung albums you’ll hear all year. No, there are no radio hits, no BANGERZ or club tracks – instead, it’s the type of inviting soul that seeped from your mom’s speakers during those Saturday morning cleanup sessions. This one feels like home.
Silk Sonic, An Evening with Silk Sonic (2021)
Every few months like clockwork, we have to endure endless debates about the alleged death of R&B. As with all these debates, it all depends on your perspective and what metrics you use to gauge success. Well, no matter the metric you use, look no further than those Silk Sonic boys. An Evening with Silk Sonic is every bit a time capsule as it is a defibrillator to jumpstart the heart of R&B. Despite the sky-high expectations for one of the most anticipated albums of the year, Bruno Mars and Anderson Paak absolutely delivered, showcasing a keen knowledge of Soul Brothers from the past but using modern-day narratives to shape the story. Essentially one long tale about chasing and falling in love, then rejecting and moving on from a girl, the duo bounce from smoky soul to disco jams to chronicle their journey. Incredible vocal performances and impressive production from the always-capable D’Mile make this one to remember. In fact, its only sin is wrapping up the party a little too soon. But there’s something to be said about leaving them wanting more. I’m down for the sequel.
Durand Bernarr, Bloom (2025)
It’s finally Durand Bernarr’s time, and I couldn’t be more excited. Durand has spent nearly two decades climbing to the top of R&B’s Mt. Olympus, fueled by critically acclaimed live performances, strong albums and an eye opening Tiny Desk set. Bloom might be the final push to finally get him to the top. Durand’s unapologetic approach to his craft, his love life, his well, everything, is what makes Bloom such a success. He refuses limit his talent, stretching his vocals from flirtatious falsettos to soul-stirring power at a moment’s notice. He laces songs with funk, R&B, gospel and electronic textures, making each track a unique experience. And his writing – from the unbridled passion of “No Business” to the vulnerability of “Home Alone” constantly goes deeper than surface level reflections of love. Bloom is as somber as it is eccentric, heavy as it is hilarious – a perfect reflection of the contradictions that make all of us human, and make Durand such a superstar.
Victoria Monet, Jaguar II (2023)
The greatest irony of Victoria Monet’s career is while fans bicker about R&B’s next great hope, she’s constantly been in the background honing her craft. Her pen has birthed hits and Grammy nominations for artists like Ariana Grande and Chloe X Halle, and her resume swings from Nas and Kendrick Lamar to Blackpink and Selena Gomez. And while her 2020 EP Jaguar rightfully turned heads, it’s the sequel LP with producer D’Mile that takes everything to another level. Jaguar II is the Terminator 2: Judgement Day of modern R&B albums. The album’s greatest strength is that each track has its own identity. “Party Girls” captures the vibes of a sweaty night in Jamaica; “Cadillac (A Pimp’s Anthem)” is a silky but commanding ode to the blaxploitation era; “How Does It Make You Feel” is just a back-to-basics love ballad. From sure-fire radio hits like “On My Mama,” to dreamy numbers like “Good Bye,” Jaguar II is a star-making release – proof that Victoria is ready to take a seat on the long-vacant throne of R&B. I won’t call Victoria R&B’s savior but Jaguar II just might be the blueprint for a better decade of R&B.
It’s your turn, and I’m sure y’all won’t hesitate to tell me what I missed. Let me know your favorites of 2020-2025 below.
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