The 21 Best R&B Albums Of 2021: Staff Picks

'When It's All Said And Done... Take Time' - Giveon

Released in March 2021, Giveon’s When It’s All Said And Done… Take Time combines his two 2020 EPs and adds an additional track to prove his staying power. The Long Beach native emerged into the mainstream last year after being featured on Drake’s “Chicago Freestyle” on Dark Lane Demo Tapes. Since then, his soulful voice has earned him to Grammy nominations and chart-topping placements. 

Giveon begins the combined project with songs from his first EP, Take Time, which spans eight tracks. He then adds the four songs from When It’s All Said And Done and closes with a new release, “All To Me.” The merging of the two projects proves fruitful. By reissuing them together as a single compilation, the 26-year-old provides a more cohesive platform for his perspective as an artist. By beginning with his oldest songs and transitioning to where he stands currently, Giveon gives listeners a timeline of his experiences. When It’s All Said And Done… Take Time describes intimate feelings on heartbreak and romance and is grounded by a subtle yet impassioned vocal performance from the singer. 

In the current landscape, what most R&B vocalists lack in power and precision they recoup in style and texture. Within Giveon exists one of the most refreshing voices we’ve heard in some time. With proper guidance, his career could turn into something truly special. — DeMicia Inman, Staff Writer

'Chocolit' - Sonta

Gaining traction as one of Chicago’s rising vocalists with her 2018 debut, In My Feelings, and Hood Love: Vol. 1 the following year, R&B singer-songwriter Sonta made her long-awaited return this year with her third studio album, Chocolit. As the long-player finds her blending mellifluous vocals with the occasional rap verse, the queen of “rhythm and drill” comes correct throughout the project’s 15 tracks, putting forth an effort that’s increased the spotlight on the 24-year-old double-threat.  

Based on Sonta’s alter-ego, Chocolit opens with its titular track, which finds her depicting a steamy bedroom romp. Led by the single, “Selfish,” the album finds the singer navigating love triangles on “Best Man Wins,” displaying her lyrical prowess on the guitar-laden “Energy,” and calling out dishonest lovers on the bluntly-titled “Lying Ass N**ga.” Rounded out by appearances from fellow Chicagoans Tink (“Worth It“), Ann Marie (“Picture This“), and Queen Key (“Rappy“), Chocolit covers the gamut of Sonta’s artistry and finds her rising to the occasion with one of the stronger R&B efforts of the year. — Preezy Brown, Hip-Hop Reporter

'Public Displays Of Affection' - Muni Long

Public Displays Of Affection is the perfect name for Muni Long’s intimate eight-track EP released this past November. Having built her resume in the music industry as a gifted songwriter under her given name, Priscilla Renea, the 33-year-old has since adopted a stage name and is doing everything in her power to ensure it rings bells.  

Muni Long was first introduced in October 2020 with the song “Midnight Snack” featuring Jacob Latimore, before releasing her Black Like This EP in November of the same year. Following her 2021 debut album, Nobody Knows, Long’s Public Displays Of Affection sees the songwriter-turned-frontwoman continue her exploration of her creative self, as she unpacks the best and most gut-wrenching aspects of modern-day romance. 

“This project was very different for me,” Long shared with VIBE before the release of PDA last month. “On my other projects, typically I just go in the studio and I know what I’m going to do and get it done. With this EP, I really went in the studio writing the music and it was times I caught myself crying. I’m not the most touchy-feely person. So, for me, putting all my feelings on this project is sort of like my ‘public display of affection.’” — DeMicia Inman

'Misunderstood... Still' - Queen Naija

Since appearing on American Idol in 2014, Queen Naija has slowly crept toward the forefront of R&B with a succession of Billboard Hot 100 placements and platinum-certified singles. Having exceeded expectations with her 2020 debut studio album, Misunderstood, the Detroit rep built on that momentum this year with Misunderstood… Still. 

The project is a deluxe edition of her debut (notably not a sequel à la Summer Walker’s Still Over It). On the record, Naija delivers seven new songs that rank among her strongest work yet. Opening Misunderstood… Still with the Hitmaka-produced heater “Supa Vibe,” the songstress gets in the zone with a mid-tempo offering that fans have been clamoring for since it was initially teased via social media. From there, the album serves up a pair of high-powered collaborative efforts, with Ari Lennox riding shotgun on “Set Him Up” and J.I the Prince of N.Y popping up on “Love Is…” The latter of the two songs samples Eve’s 1999 cautionary hit, “Love Is Blind.”  

Misunderstood… Still also includes vulnerable moments of transparency from Naija, as “Insecure” and “Passionate” find her wearing scars from emotional wounds on her sleeve. Elsewhere, “Butterflies Pt. 2” finds her connecting with Wale on a track that closes what’s undoubtedly one of the best R&B releases of the year. — Preezy Brown

'Who's Listening Anyway' - Zyah Belle

Vallejo, California singer-songwriter Zyah Belle is able to fold the styles of Erykah Badu’s melodic rawness, Anderson .Paak’s wittiness, and the essence of ’90s neo-soul into a terse seven-track body of work with Who’s Listening Anyway. 

The mark of an artist coming into their own is when said artist is able to sound great on different tempos exploring different topics. It’s also when there’s a special feeling that flows throughout the music, like when a storyline forms in a verse as it builds toward the chorus. Belle accomplishes this on “Sugawater.” The sped-down, almost warped rhythm of the track helps to tell her survivor’s tale of going from poverty to prosperity with lines like, “We eatin’ good over here, yeah/ Out the hood to be here, yeah/ Marble floors and chandeliers… I spoke this into existence.” 

Even with her talent leading her out the hood, it’d be unwise to think Belle won’t drag a dude for being, well… a dude: “F**k that ni**a and his b*tch too.” Yep, that’s the hook to the song titled, you guessed it, “F**k That.” With Belle keeping things cool and jazzy with her vocals, her homie Tempest brings the ratchet vibes as they close out the tune with the same glorious chant that the song opens with. 

It’s so much fun listening to a project not knowing what to expect next musically from producers ROMdeful, Roswell Universe, and others. It’s a rare occurrence these days, but a welcomed one with Zyah Belle’s star on the rise. — Datwon Thomas, Editor-in-Chief

'Homegrown' - VanJess

On Homegrown, VanJess, balances traditional R&B with contemporary sounds, compiling a unique blend of songs that are a long way from the duo’s YouTube covers. The EP follows their 2018 debut album, Silk Canvas. With their latest project, sisters Ivanna and Jess Nwokike elevate their artistry and provide a soundtrack for life’s highs and lows.  

Initially released in February 2021, the nine-track project got the deluxe treatment with five additional songs in September. In its entirety, the 14 songs feature KAYTRANADA, Lucky Daye, Phony Ppl, and more.  

During an interview with Buzzfeed, VanJess revealed they didn’t finish the project until they were forced into isolation by the coronavirus pandemic. “With lockdown and the state of the world, we found ourselves going back to creating and writing at home by ourselves. So it was full circle,” said Jess.  

The chemistry the two share on the album as both sisters and musicians prevails. From the disco-infused “Come Over” to the groovy “Dysfunctional” and the sensual “High And Dry,” VanJess hone in on timeless sounds not defined by just one genre, but bringing the best of multiple styles to establish their own identity. — DeMicia Inman

'Drones' - Terrace Martin

Terrace Martin, the proud California-bred multi-instrumentalist, is known for making everyone from Snoop Dogg to Kendrick Lamar’s tracks tighter. Be it with his jazzy funk productions or his signature sax sounds (made famous throughout Lamar’s To Pimp A Butterfly album). Having Martin get his own ideas out on Drones is a treat, both for himself and his fans.  

This album is a labor of love for the longtime assist man as he flexes his star-studded reach, securing collaborators the likes of Lamar, Ty Dolla $ign, Robert Glasper, and Hit-Boy. The record also shows off his musical range, which spans G-Funk, futuristic Bossa Nova, updated neo-soul, and ultimately that specific groove that only Martin himself can create.  

The theme of the project references our dependency on computers and the idea that digital life is turning us into drones (“Only wanna push your buttons/ You ain’t a robot for nothin’/ Let me dehumanize you”). But the through-line of Martin’s seventh solo studio album boils down to the story of the life of a dude in Los Angeles; how the cops can be on your case for nothing, how the streets are always on go, how love confuses things in relationships. Martin packages these concepts with verses from his rapper and singer friends, as well as the sounds of his supergroup buddies, Dinner Party (Kamasi Washington and Glasper). 

Drones showcases synths, bongo hits, double-time hi-hats, scaling basslines, and horns from the heavens. To call it R&B may be a stretch, but could anyone pin a genre on Martin’s creations that isn’t? Probably not, and that’s a great thing for us music lovers. — Datwon Thomas

'Sis. He Wasn't the One' - KIRBY

Executing the continuation of a concept or theme can be hit or miss when it comes to music, as it’s rare that the sequel captures or surpasses the magic that made one come to love the original. 

However, KIRBY has put forth an admirable attempt at doing just that with Sis. He Wasn’t the One. The album finds the Memphis-born, Mississippi-raised singer-songwriter picking up where she left off on her 2020 full-length debut, Sis, which earned a significant amount of acclaim and announced her arrival as a budding star.  

Having penned hits such as “FourFiveSeconds” for Kanye West, Rihanna, and Paul McCartney, “Break Your Heart Right Back” for Ariana Grande, and “Die With You” for Beyoncé, the self-proclaimed “Granddaughter of Soul” wastes no time getting into the thick of things on her own album. Employing her feathery falsetto, KIRBY shines throughout the project’s 10 tracks, including the single “Boyz II Men,” the uptempo jam “Coconut Oil,” the cinematic ‘Leon Pt. 2,” and the BJ the Chicago Kid-assisted “Lately.” Sis. He Wasn’t the One is a fine display of KIRBY’s talent and versatility. — Preezy Brown

'Heat Of The Moment' - Tink

One of the most anticipated R&B projects of 2021 was Tink’s Heat Of The Moment. The Windy City native’s latest release finds her changing course from the brooding nature of her previous offerings to a more lighthearted (yet nonetheless emotive) effort this time around.  

Coming off the heels of her two 2020 releases, Hopeless Romantic and A Gift & A Curse, Heat Of The Moment features the singer’s signature lovelorn testimonies—albeit with a unique twist, as fellow Chicagoan Hitmaka oversaw the entirety of the project’s production. Opening with its title track, the album begins on a high note as Tink reflects on her current life and the road she’s traveled.  

In addition to its anthemic lead single, “Bottom Bi**h,” Heat Of The Moment contains numerous standout tracks; including “Chasin,” which finds Tink asserting her independence, and “Regret,” another salvo that finds the songstress touching on various matters of the heart. Also bolstered by collaborative efforts alongside Yung Bleu (“Selfish“), Jeremih (“Rebel“), Davido (“Might Let You“), and Kodak Black (“Whole World Against Me“), Heat Of The Moment is a full-bodied LP that continues Tink’s streak of quality releases and is one of her best projects thus far. — Preezy Brown

'Before We Go' - India Shawn

Singer-songwriter India Shawn ain’t new to this. In the span of her decade-plus music career, the Southern California native has penned songs for the likes of Chris Brown, Dirty Money, El Debarge, Keri Hilson, and Monica. After shifting her focus to become a solo artist, she released her 2012 EP, Origin. Since then, she’s been featured on Solange’s Saint Heron compilation album and released a joint EP with James Fauntleroy.  

Six years later, Shawn is stepping into the spotlight again. With the backing of her new label, Epic Records, she’s gearing up to release her studio album in 2022. To satiate both her day-one supporters and brand-new fans until then, the singer-songwriter released a repeat-worthy seven-track EP, Before We Go. In the span of its nearly 27-minute runtime, Shawn showcases her relatable lyricism and honeyed tone while navigating the circumstances of a self-assured woman. 

“Too Sweet (feat. Unknown Mortal Orchestra)”—the sonically rich track about knowing when “I’m feelin’ you” is unrequited—is laced with her undeniably alluring vocals. Her 6lack-assisted track, “Not Too Deep,” describes the longing for a relationship despite being a bit hesitant. “Superfine” is a mid-tempo record about acceptance and knowing when to chuck the deuces in a relationship (or something that’s ambiguously similar to one).  

With both “Cali Love” and the Anderson .Paak-assisted “Movin’ On” appearing on the final season of HBO’s Insecure, Before We Go is a short teaser with a wide reach indicative of what’s to come from India Shawn. Catch up, world. — Christine Imarenezor, Executive Editor

'Love Is The New Black' - Anthony Hamilton

With a production lineup that’d rival records from most high-end rap stars (9th Wonder, Bink!, Cardiak, Jermaine Dupri), Anthony Hamilton’s Love Is The New Black infuses vocals expressing lived-in pain with a throwback Hip-Hop soundscape that elevates what some may consider a traditionally sleepy genre. 

Breaking the mold of his previous projects, Hamilton enlists the services of the biggest boss, Rick Ross, to speak on how “Real Love” attracts the heart, resulting in a song that sounds like a straight Maybach Music special. The twist, though, comes right after that, when Lil Jon (Yeeeahhhh! That Lil Jon) announces himself on a downtempo crunk banger that works effortlessly with Hamilton’s brown-liquor-smooth flow on “I’m Ready.” That track is a total curveball, but leads right into the cognac crooning paired with the deep-bottomed bass of the multi-layered “White Hennessy.” To the tune of a sample previously used by Mobb Deep on “Give Up The Goods (Just Step),” Hamilton does his best singing over this smooth track about love and that lighter version of Henny. 

The down-home feel the soul singer and his contemporaries have represented throughout their long careers is prevalent on Love Is The New Black. Throughout the album, there are songs about being cheated on and asking for forgiveness for cheating on someone else. The record bends the block from different corners, but the topic of cheating remains front street via songs like “You Made A Fool Of Me,” “I Thought We Were In Love,” and “Sorry.” The highlight, though, is the duet cover of Luther Vandross’ “Superstar” featuring Jennifer Hudson. This with Hamilton’s grown man understanding of life and love makes Love Is The New Black his strongest album in years. — Datwon Thomas

'Table For Two' - Lucky Daye

If there’s one thing many can relate to, it’s the ups and downs of love. Just before Valentine’s Day early this year, Grammy-nominated singer-songwriter Lucky Daye delivered a sonic appetizer in the form of his EP, Table for Two. The seven-track project takes listeners on a melodically smooth ride through the realities of romance.  

What’s most appreciated about this compilation is its balance of perspectives. Not only through the lens of a vulnerable man, but also from the heart and lips of the woman (or women) he croons and vents about. With the 1963 duet-filled album, Marvin Gaye and His Girls, and 1973’s Diana & Marvin serving as inspiration, Daye called on R&B songstresses Ari Lennox, Yebba, and more to bring a woman’s point of view to the record. “I thought it would be a good idea since nobody ever did an album with all females besides Marvin Gaye,” he told Okayplayer. “I wanted to follow in his footsteps and try to pick up where he left off.” 

In between Daye’s sprinkled bits of spoken word and slightly abstract poetry, producers D’Mile, Cadenza, and Vinylz flawlessly find ways to fuse classic tunes of yesteryear to create fresh and modern beds of music. It’s the slip-in of Ann Peebles’ 1973 single, “I Can’t Stand the Rain,” during the break of “My Window;” the nod to Curtis Mayfield’s “Give Me Your Love” on “Access Denied.” By the time Table For Two’s last track begins, you realize there’s always some sh*t on this long and perilous journey to find The One. — Christine Imarenezor

'Wildest Dreams' - Majid Jordan

Romantic and refreshingly non-toxic, as cynicism and aloofness have become defining characteristics of male R&B these past few years, Wildest Dreams reminds listeners what the genre can sound like when it’s made with a hint of earnestness. Majid Jordan’s excellent sophomore album was a treat for R&B purists this year, as the Canadian duo paired pristine production with lyrics about living, loving, and even partying with pure intentions. 

The two best examples of this sincerity are the back-to-back songs “Been Through That” and “Life Worth Living.” Over an upbeat dance track from producer Jordan Ullman, vocalist Majid Al Maskati empathizes with an unsure love interest on “Been Through That,” singing, “Sometimes when you drink too much, you still call when it’s late, I been through that/ Days when you think it’s love, feels like it might be an act, I been through that.” On “Life Worth Living,” Maskati recounts betrayals on both sides of a severed relationship, but instead of stewing in resentment, resolves, “After everything I’ve given/ I only want a life worth living.” 

Bolstered by an appearance from Diddy himself, the R&B revivalism of Wildest Dreams feels more akin to the softer aspects of Last Train To Paris than Bruno Mars and Anderson .Paak’s ‘70s-inspired An Evening With Silk Sonic. But much like Mars and .Paak, Maskati and Ullman released an album this year so good it might just transcend time altogether. — Austin Williams, Senior Music Editor

'Cheers To The Best Memories' - DVSN & Ty Dolla $ign

DVSN didn’t have to hit us with this additional gem following Amusing Her Feelings (2021), the extended reprise of A Muse In Her Feelings (2020). But we’re glad they did. Cheers To The Best Memories marks the first collaborative album between the treasured Toronto duo and Ty Dolla $ign.  

On the project, the newly formed trio blends the most soulful parts of their respective repertoires to create an experience that feels reminiscent of the days of Marvin Gaye and Teddy Pendergrass, but also a more recent past. “Memories,” one of VIBE’s 21 Best Songs of 2021, opens the album by instantly transporting listeners back to 1992. On the track, Ty and DVSN sample Silk’s provocative jam, “Freak Me,” as they sing about making memories while listeners presumably make babies. 

The eroticism continues on “Don’t Say A Word,” which serves as an effective prelude sliding straight into “Outside,” a raunchy and audacious anthem for pandemic horniness (“We been inside too long for me to be outside of you”). The sexiness of the album is balanced out by the energy of its guests, including the aggression of YG and the laid-back honesty of the late Mac Miller. While Cheers To The Best Memories isn’t something that necessarily calls for a follow-up collaboration every year, it’s an endearing accomplishment that stands out in both DVSN and Ty Dolla $ign’s respective discographies. — Mya Abraham, R&B Reporter

'Still Over It' - Summer Walker

No longer holding her tongue and armed with a very limited number of f**ks to give, Summer Walker reclaimed her voice, her truth, and her agency on Still Over It. Once again low on features, the sequel to Over It escalates the feeling of isolation after a breakup. Of the few guests who do appear on the album, Ari Lennox shines the brightest on “Unloyal,” another one of VIBE’s 21 Best R&B Songs of 2021. Elsewhere on the record, Still Over It is bookended by opening narration from Cardi B and a closing prayer from Ciara. The former is an embracement of confrontational confidence while the latter is a prayer for peace.  

In between those moments, there’s the blatant detachment on songs like “No Love” and “Switch A N***a Out,” as well as the deep yearning for reciprocity on “You Don’t Know Me” and “Session 33.” London on da Track, Walker’s ex-boyfriend and frequent collaborator whom she also has a child with, catches heat over his allegedly shady antics on “Bitter,” the aforementioned intro featuring the voice note from Cardi (who has had romantic struggles of her own with a co-parent and frequent collaborator). 

While not underscoring every song, themes of Walker breaking free from the woes of her previous relationship are steadily paced throughout the album. By the time the record reaches the end of “4th Baby Mama,” a scathing track on which even London’s mother finds herself in Walker’s crosshairs, the metaphorical clip has been emptied. All that’s left are Ciara’s spiritual words of wisdom, as she prays for a restored faith in love and fans pray for a third installment in the Over It cinematic universe. — Mya Abraham

'Shelley FKA DRAM' - Shelley FKA DRAM

It’s been four years since DRAM was last on the scene in full form. Reemerging under his government name, Shelley, amid both physical and mental transformations, the Virginia crooner has returned with a distinct soulfulness reminiscent of Motown’s golden era. Distancing himself from his catchy raps, the newly-minted singer experiments with his voice as if he’s unveiling a new identity on every track.  

On his self-titled album, Shelley doesn’t struggle to deliver convincing funk, R&B, and soul performances. Even without his usual raps, there’s a melodic familiarity to this progression in his discography. “Remedies,” ranked seventh on VIBE’s list of the 21 Best Songs of 2021, is a humble offering on which he hopes to “cure” a “loveless war” between himself and a former partner. Remarkably, even this rather melancholy spot on the album contains the sort of optimism Shelley became known for as Big Baby DRAM. 

On “Rich & Famous,” the singer preemptively forgives fans who can’t let go of his previous moniker. Later, the love-addicted singer taps into his inner Darius Lovehall on “All Pride Aside” as he travels through the various stages of romantic partnership: falling for someone, balancing pursuit and restraint, only to find himself fully immersed in something he can’t live without. Offering all this and more, Shelley FKA DRAM presents a type of R&B that’s secure, poised, reverent, and endlessly listenable. — Mya Abraham

'trying not to think about it' - JoJo

The ongoing pandemic has proved to be a trying time for artists and music lovers alike. Unfortunately for songbird JoJo, 2020’s global health crisis overshadowed the release of her fourth studio album, Good To Know. Tour plans were canceled, uncertainty loomed, and the light at the end of the tunnel seemed to be nowhere in sight. Depression and self-doubt crept in, but the seasoned singer-songwriter tapped into the rawness of her experiences and decided to share them with the world in the form of an EP.  

trying not to think about it is a 12-track therapeutic purge during which JoJo opens up about her personal bouts with mental illness. The musical diary begins with the welcoming number “World of Sunshine,” before the songstress confronts the feeling of fear as though it were a real person on “Anxiety (Burlinda’s Theme).” The heaviness of heartbreak is later felt on the jazz-fused standout “Dissolve,” as the pulsing keys, upright bass, and willowing harmonies depict the dreary feeling that inevitably hits after the end of a relationship. Self-limiting beliefs are addressed on “Good Enough,” while “B.I.D.” offers a reminder to bring it down, remember who you are, and find solace in a friend or person you can trust. 

In an age where self-care is encouraged, JoJo’s trying not to think about it drives home the notion that you are not alone in your mental health journey. We’re all human. With therapy, companionship, and maybe a little luck, things will be alright. — Christine Imarenezor

'If Orange Was A Place' - Tems

Tems had all eyes on her after a breakout year in 2021, and with her EP If Orange Was A Place, she proves her journey is just beginning. The 26-year-old from Nigeria has capitalized on global media’s newfound interest in Afrobeats and other genres from the continent. Although she’s previously reached mainstream success in Nigeria with hits “Try Me” in 2019 and “Damages” in 2020, Tems was introduced to many fans in the United States through her guest appearance on Wizkid’s 2021 hit, “Essence” 

Two weeks prior to If Orange Was A Place, the singer landed another major feature on “Fountains,” a dancy album cut from Drake’s Certified Lover Boy. While the song is middling compared to some of Drake’s other diasporic experiments, the exposure from the album’s millions of streams raised anticipation for Tems’ own forthcoming project. 

Not technically R&B, If Orange Was A Place still deserves to be recognized as one of the best melodic, non-rap releases of the year. With just five songs, the album paints a warm portrait of the pressures and pleasures that come with vulnerability. Tems begins the record with “Crazy Tings,” a very personal starting point for an equally personal journey, as she offers an album’s worth of story confined to an EP’s runtime. On the remainder of the project, the singer presents captivating lyrical themes such as the desire for peace and the acceptance of sadness, and she uses the coziness and depth of her unique voice to add a certain intensity to each song. 

If Orange Was A Place presents the best parts of Tems’ artistry: her singing chops and songwriting skills. By the end of her breakthrough EP’s 18-minutes, it’s clear the rising star is here to stay. — DeMicia Inman

'Heaux Tales' – Jazmine Sullivan

On “Antoinette’s Tale,” Jazmine Sullivan states, “We’re out there telling them the p***y is theirs when in actuality it’s ours”— a declaration that feels emblematic of the different themes that tie Heaux Tales together. Her first project since releasing Reality Show in 2015, Sullivan’s Heaux Tales is direct, reflective, and unwaveringly bold as the soaring vocalist unpacks the sort of grown folks’ business that’s usually discussed in hushed tones. 

After “Bodies (Intro)” grounds listeners in feelings of tough love, Heaux Tales quickly escalates on its standout track, “Pick Up Your Feelings.” The record, which could honestly be thought of as a hymn, describes a curt yet empowering ending to a toxic relationship. Perhaps this generation’s version of Beyoncé’s “Irreplaceable,” “Pick Up Your Feelings” provides an Issa Rae-esque “it’s me season” energy that’s enhanced by Sullivan’s soul-stirring vocals sung with gospel stylings.  

Elsewhere on the project, Sullivan explores opposite sides of her sexuality, with the dominance of “On It” and the submissiveness of “Put It Down.” The contrast between the two songs, with the former also landing on VIBE’s list of the 21 Best R&B Songs of 2021, demonstrates how quickly a person could switch from flippant to smitten when hypnotized by bomb sex. That dueling narrative, along with the stories of former lovers and familiar entanglements described throughout the rest of the project, is likely something a self-described “heaux” would find deeply relatable. — Mya Abraham

'333' - Tinashe

Tinashe’s second independent LP since parting ways with RCA is her most ambitious work to date. Down to the third eye gazing from her forehead on the album’s cover art, there’s something particularly high-minded about what the singer is doing on 333. The 16-track project is an amalgamation of eclectic taste, impeccable vocals, and a sort of bedroom-studio freedom one finds when they aren’t confined to a record deal. 

Despite not having the major label budget she entered the industry with in 2014, Tinashe doesn’t miss a step on her 2021 opus. In fact, 333 finds the star in perfect stride. At different times, the production and songwriting on the album are ethereal (“Let Go”), erotic (“Angels”), and experimental (“333”). But true to her “2 On” roots, Tinashe is at her best when curating something anthemic and danceable. “Pasadena” and “Bouncin’,” smartly released as the album’s first two singles, capture the sort of playfulness that’s often the singer’s most intoxicating quality. With the former meant for foot-shuffling and the latter for booty-popping, “Pasadena” and “Bouncin” strike a balance between the sort of day-party perkiness and late-night ratchetness found on other songs like “SHY GUY” and “X.” 

Elsewhere on the album, there’s “Last Call,” a powerfully sung and cleverly written response to heartbreak on which Tinashe declares, “Here’s to the tears, yeah I’m givin’ it up/ Last call, oh, cheers to the years I was pourin’ my heart in your cup.” Top to bottom, 333 is a treasure trove of compelling impulses from an artist who’s proven she’s most successful when left to her own devices. — Austin Williams

'An Evening With Silk Sonic' - Silk Sonic

Of the year’s often delayed, much-anticipated event albums (Certified Lover Boy, DONDA, etc.), An Evening With Silk Sonic might have been the only one to live up to its exact expectations. This includes the fact that many people guessed the album would wind up on these sorts of year-end lists even before it was released. 

From the very first single, “Leave The Door Open,” it was clear An Evening With Silk Sonic would be more informed by Bruno Mars’ sensibilities as an artist specializing in pastiches and homages than Anderson .Paak’s inventiveness. What followed that correct assumption was an ode to 1970s soul and funk that in the hands of lesser musicians could have sounded like a parody album, but instead exemplified the singers’ fluency in both genres.

In addition to being one of the best projects of the year, Mars and .Paak’s collaboration is also one of the most cohesive records in perhaps the past five. There isn’t a single loose end or frayed edge on this perfectly manicured concept album. From songs like “Fly As Me” and “777” to “After Last Night (with Thundercat & Bootsy Collins),” Mars and .Paak as Silk Sonic capture the charisma and sex appeal of the 70s exactly the way folks thought they would—as sharply sketched characters, not lazily drawn caricatures. — Austin Williams