Category: R&B


Legend’s album is produced and co-written by his longtime friend and fellow musician Pharrell Williams, marking the pair’s first collaboration together.
“The album is the first project the two have undertaken together in more than two decades of friendship — a cinematic, lush body of work that weaves together the strands of Black music, from gospel and the standards to doo-wop, classic soul, Afrobeat and hip-hop,” a description for the album reads. Legend (whose real name is John Stephens) and Williams worked on the album together in Paris at the Louis Vuitton headquarters, where Williams, 53, serves as men’s creative director. Legend noted the collaboration “felt past due.”
The pair had a certain goal…

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…features two brand new songs, alongside “New Desire,” as well as a rework with John Glacier and remixes from various artists including Jacques Greene, Nosaj Thing, Lil Silva and Oscar Farrell.
Arlo Parks has long made a home in vulnerability and poetic lyricism, and on Ambiguous Desire, she doubles down on that instinct with confidence. The album is full of psychedelic textures, punchy basslines, and dreamy vocals that blur together into something hypnotic but anthemic.
While the coherence of the record sometimes lends itself to monotony, the darker sonic undercurrent, coupled with a newly found more intricate and explorative sonority, has a sensation of quiet and dreamlike absorption.
Across the whole record, Parks’ vocals are…

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Following Pigments and Quiet in a World Full of Noise, two ethereal and affecting collaborations with Spencer Zahn, Dawn Richard picks up the thread from the preceding New Breed and Second Line with the largely danceable Creole Culture. “A Creole Culture Intro,” filled with animated and exultant wordplay, a banging Machinedrum beat, and support from bounce queen Big Freedia, signifies Richard’s return to all-conquering dancefloor mode. The way the track enters with the rhythm section of modern fusion band Katalyst — leader Greg Paul’s thumping drums and rattling percussion, plus Brandon Cordoba’s combination of grooving electric piano and Jan Hammer-like synthesizer wriggles — makes it known that the album won’t be a mere rehash.

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For his accurately titled fifth album, Leon Bridges linked with producers and multi-instrumentalists Lydia Kitto and Josh Lloyd-Watson, two-thirds of Jungle. Mutual admirers, Bridges and Jungle had been running into one another at festivals and other gigs. Coming off two of his most ballad-heavy efforts with Gold-Diggers Sound and Leon, Bridges had an eye toward making a more uptempo set of material to get him dancing on-stage again. Who better to enlist than members of a high-profile band known for creating a party-like atmosphere with lively material that is essentially modern disco? Kitto and Lloyd-Watson brought their knowledge of vintage dance music, the high energy, the horns — the organic works, essentially — and Happiness Anytime…

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Los Angeles-based pianist, multi-instrumentalist, and producer Kiefer Shackleford has appeared on the Blue Note label twice in 2026. In July, he was part of the eponymous debut by FATHERS, a jazz quartet that also includes drummer Nate Smith, bassist CARRTOONS, and producer Kenneth Blume (aka Kenny Beats). Memory Bomb is his 13-track leader debut for the label. It presents a sound he calls “Over the Breaks,” after a J Dilla concept balancing modern jazz warmth with the rhythmic pull of hip-hop, improvisation, and neo-soul. Memory Bomb showcases many collaborators, but there isn’t a moment where Kiefer doesn’t shine through and hold everything together. He shares production duties with best friends and creative partners CARRTOONS…

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Megiapa’s nutritive first album for Chicago’s International Anthem label would have made equal sense on progressive Los Angeles imprints such as Stones Throw and Brainfeeder. In a way, the Midwest native, who writes, arranges, and produces her material, is a child of the L.A. beat scene that gave rise to the likes of Georgia Anne Muldrow and Flying Lotus. Although she established herself in the Windy City while building up a considerable catalog of self-released material over the course of a decade, Megiapa has been in L.A. since 2023, allying with a host of players, many of whom joined her in the making of Intentions. A mix of live instrumentation and Megiapa’s progressive beatmaking, this set is laid out like a considered mixtape slash refined jam session…

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The last few years have been a whirlwind for Glasgow’s corto.alto, aka Liam Shortall. From jamming with friends in his flat to a Mercury Prize nomination and worldwide tours, his rise as an artist in the UK jazz scene has been mesmeric.
Alongside long-term bandmates Graham Costello and Fergus McCreadie, corto.alto peaked with a few of these aforementioned accolades after releasing 2023’s Bad with Names. Now signed to the revered indie label Ninja Tune, their follow-up, SOME SMALL FORTUNE, faces more pressure than ever to meet expectations. Thankfully, Shortall lets the music do the talking.
Leading visually with its artwork collated from images from Shortall’s childhood, this collage-like approach is what binds together…

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…Recorded between 1988 and 1989 in a small 8-track home studio in Amman, Jordan, Pieces of a Dream captures a side of the Arab music scene rarely documented: a group of musicians deeply inspired by jazz, soul, yacht rock and city pop, creating music that sounds closer to late-night LA or London than what most would associate with Jordan at the time.
Nechazz was formed by Palestinian-Jordanian musician Basim Said & Khaldoon Nasser and Iraqi singer and guitarist Kassim Sabounchi. While the trio became locally known for their live shows at the iconic Amman club Rumours, the music they wrote and recorded together was never officially released and remained unheard even among friends and family of the band.

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Like clockwork, Dinner Party’s third brief studio project arrived three years after Enigmatic Society, which followed the self-titled debut by the same time span. The core quartet, consisting of facilitator/producer Terrace Martin, Robert Glasper, Kamasi Washington, and 9th Wonder, is once again joined by the pacifying Phoelix as main vocalist and (on all nine cuts) co-writer. The commanding J. Ivy sets the scene on “Stop Being Late,” one of five tracks with 9th’s smooth boom bap production, greeting, instructing, and ultimately welcoming a guest who shows up tardy and empty handed: “We know that love is what you bringin’.” From there, the players serve up another comforting soul-cuterie board of concise compositions that favors intricate rhythmic…

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Few artists treat genre with the same radical disregard for boundaries as Willow Smith, who has steadily emerged as a singular architect of modern sound by blending disparate styles with striking vocal agility. The sheer momentum of her recent output reveals an artist relentlessly chasing new sonic horizons. Arriving just five months after February’s petal rock black, her eighth solo studio album, The Thread, marks her second full-length project of 2026. This tireless work ethic has fueled a stunningly compressed evolutionary arc. She transitions from the distorted pop-punk rhythms of 2021’s lately i feel EVERYTHING to the intricate jazz-fusion of Empathogen. With The Thread, WILLOW shifts her sights toward the devotional by crafting an ambitious interrogation…

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Cautious Clay’s The Hours: High Noon is the third part of his conceptual trilogy of songs about one day in a life. As the Beatles might say, “Oh boy”. Cautious Clay has tackled the concept of “a day in the life”, but he’s done so completely out of order. One does not need to have heard the first two volumes before this one. In fact, he released part three (Night) back in October 2025 and part one. The Hours: Morning. in May 2025. Clay purposely issued them out of sequence rather than consecutively. The albums may thematically connect but do not tell a linear story. The new release can stand on its own. One need not know or reference the first two to appreciate this one.
Despite the title, the eight songs on High Noon do not begin with a track about 12 pm.

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Nick Hakim is one of those artists you’ve come across whether you realize it or not. From his extensive collaborative history with the likes of Show Me the Body and Pink Siifu to his own solo output that seemingly set out to expand the mind, the multi-instrumentalist / producer / singer / songwriter has built one impressive, undeniable career. The self-reliant renaissance man is capable of conceiving and executing every portion of the creative process at its highest level, allowing Hakim to build these psychedelic sonic universes that are welcoming to the exploratory mind. His solo material and collaborations have never dabbled in the conventional, yet sought to change that norm, with Hakim’s innate experimental tendencies colliding with a natural knack…

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Corey King brings a spellbinding, cross-genre fluidity to his third album, 2026’s Change the Wind. A trained jazz trombonist, King is also a singer/songwriter, producer, and multi-instrumentalist who has worked with a diverse array of artists including José James, Christian Scott aTunde Adjuah, and Iggy Pop. He also took home a Grammy for his co-writing and production work on singer/bassist Esperanza Spalding’s Songwrights Apothecary Lab. He brings all of this experience to bear on his solo work, crafting a holistic blend of alt-R&B, indie rock, and electronica. The follow-up to 2019’s A Loveless Sunken Sun, Change the Wind is a deeply personal production that finds King once again revealing his many-textured sound. The album was also written and…

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New Orleans funk and R&B legend Cyril Neville has released Don’t Wait Til I’m Gone, his first solo album in several years. Produced by trumpeter/ vocalist Shamarr Allen, the album features a wide-ranging cast of New Orleans musicians, including members of the Hot 8 Brass Band, guitarist Leo Nocentelli, saxophonist Donald Harrison, keyboardist Ivan Neville and Kermit Ruffins. The title track is a collaboration between Cyril and his brother Aaron Neville, who co-wrote the song with Michael Goods and contributes vocals.
Allen played a major role in shaping the record, co-writing many of the songs and arranging much of the horn work. One standout track, “Lemonade,” incorporates the second line energy of the Hot 8 Brass Band and was written…

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When Steve Lacy released “Nice Shoes” last summer — a teaser for his new album Oh Yeah? that dropped alongside his Rolling Stone cover story — the song took fans by surprise. Its frenetic breakbeat signaled a looming sonic departure for Lacy, whose Grammy-winning output includes virtuosic instrumentation for everyone from The Internet (their long-awaited new album is on the way) to Kendrick Lamar.
Even so, the song’s later moments, punctuated by a more familiar Steve plucking his guitar and crooning sweetly, pointed to something more dynamic. On his long-gestating album, Lacy builds an ambitious universe around those instincts, turning breakbeats, guitar ballads, trip-hop murk, and crude-almost-cringe humor…

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Like another of the year’s biggest pop records, Olivia Rodrigo’s You Seem Pretty Sad for a Girl So in Love, the second full-length from the self-proclaimed “emotional junglist” Nia Archives is an album of two halves. The first documents its protagonist falling in love at breakneck speed; the second, the whiplash of sudden heartbreak. Unlike Rodrigo, Archives didn’t grow up starring on Disney Channel, a predestined route to success, but in Bradford, cutting her teeth on early 00s pirate radio, dancehall and landfill indie.
More than most major artists, Archives has carved out her own path. After leaving home at just 16 to move into a youth hostel in Manchester, she started teaching herself to make beats; eventually, she uprooted to Hackney and studied…

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Przemysław Jankowiak, aka 2k88 (and fka 1988), is one of Poland’s most singular producers. Long associated with alternative rap and experimental electronics, he gained a cult following as a member of duo Syny and later lent his hand to some of the adventurous figures in the Polish mainstream. His music is, like his concerts, full of smoke: airy, cloudy, inscrutable, dreamy, and unreal.
Everything Always Changes, for We’re Truly Here started as a one-off special project for Kraków’s Unsound Festival. Jankowiak enlisted a trio of acclaimed, like-minded British artists who, like him, work across ambient, rap, R&B, and pop. The four musicians passed ideas back and forth, bringing forth their shared sensibilities and aesthetics: Rainy Miller delivers his signature…

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New Avatar marks a full-circle moment for Kelela, who started out playing in rock bands as part of Washington, D.C.’s indie scene before she began working with electronic producers and making more club-based music. The album’s stunning opener, “Idea 1,” layers ethereal, shoegaze-like guitars with existentialist lyrics inspired by Octavia Butler’s dystopian classic Parable of the Sower. Both a return to the singer’s roots and an exciting new direction, it begins a lush, emotionally gripping record which fuses multiple styles she’s explored throughout her career.
“Point Blank” is one of the album’s more club-influenced moments, with slowed-down jungle breakbeats underpinning frank lyrics about a dysfunctional, dangerous relationship.

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