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Best RnB Songs 2018
VIBE / Nick Rice

15 R&B Songs We Obsessed Over Most In 2018

December 12, 2018 - 11:08 am by VIBE

A look back at the bonafide R&B songs of 2018 that kept us pressing play.

Hip-hop may have become the Nielsen Music-declared most dominant music genre, but let's not overlook the strides R&B (including all its many sub-genres and cousin genres) have taken on the airwaves and within the culture in this year alone.

While persistent naysayers keep peddling the tired argument that "R&B is dead," the most recent news cycle has proven the exact opposite, as talks of a supposed King of R&B dominated discussions both on- and offline. Jacquees' lofty declaration notwithstanding, there's no denying that there are ample songs swimming around the 'Net from talented vocalists killing it within the genre.

For those looking to satiate rhythm and blues earworms—and in no particular order—VIBE compiled a list of the 15 bonafide R&B songs of 2018 (or at least ones that fall within the genre's orbit) that pulled us into our feelings each and every time we pressed play.

READ MORE: Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

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“The Light” - Jeremih, Ty Dolla Sign

Leave it to R&B lotharios Ty Dolla $ign and Jeremih to craft one of the catchiest and most salacious tunes of 2018. "The Light," which boldly samples Keni Burke's "Risin to the Top," was the duo's first single under their collaborative moniker, MihTy. At 11 tracks long, their eponymous debut album is a carefree ride that centers pleasure over practicality; "The Light" serves as the perfect example of this. The song details alcohol-fuelled sexcapades of the two singers and the lengths they'll go to guarantee their lover's affections.

 

Lyrically, the pair offer up their carnal urges and leave little to the imagination ("Let's have sex/But not without the foreplay/But not without the first date/But not before I have to wonder/If you let me hit/If I walk you to your doorway"). Ty Dolla $ign is widely known for his trademark sultry croon across an array of tracks with other artists ("Or Nah," "Swalla," "Paranoid") and Jeremih has become infamous for his infectious club anthems ("Don't Tell 'Em," "Birthday Sex," "Down On Me"); a joint album from the pair seemed both natural and inevitable. The raunchy playfulness of "The Light" is a breezy reminder that both men have hit-making down to a science—and show no signs of letting up anytime soon. —Candace McDuffie

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“I Like That” - Janelle Monae

"I Like That" is the song version of the term self-care. Featured on Janelle Monae's Dirty Computer album (Wondaland Arts Society/Atlantic Records), the melody finds the Kansas City native at her most self-assured, perched on the highest plateau of tending to one's needs above all else. "I don't care what I look like, but I feel good/ Better than amazing, and better than I could." How could you not smile to yourself after hearing that line?

 

Janelle's melodic shrug to her detractors is also encouraging in some ways. It displays how success will still find you if you remain true and genuine to who you are, and to go after what makes you — and only you — happy. It's a liberating feeling when that actually becomes your reality, showing that it's not a far-fetched notion to possess.

 

Although Janelle isn't foreign to the concept of walking tall in one's personality, "I Like That" presents itself as a breath of unpolluted oxygen for the individuals who don't conform to society's out-of-thin-air rules. From the opening chords in the form of Janelle's vocals to the effortless yet intricate aura of Organized Noize's production, the unapologetic lyrics resonate just as deep as the minimalist beat. And, of course, it's only fitting that Janelle float over a track produced by the legendary beatsmiths. —Camille Augustin

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“Boo’d Up” - Ella Mai

Despite the single being released in early 2017, Ella Mai's time to shine truly came this recent summer when "Boo'd Up" became the hottest R&B song in the country. The song not only broke records but it also ended what looked to be a curse. Whereas female R&B singers like Brandy, Mary J. Blige, Toni Braxton and Alicia Keys ruled both pop and urban radio and its charts in the 1990s and 2000s, by the time the 2010s rolled in, Rihanna and Beyonce were (arguably) the only two artists to still have a significant presence in the genre.

 

The South Londoner reached No. 5 on the pop charts, becoming R&B's first female newcomer in 10 years to achieve this feat and the first UK singer to top the R&B charts in 25 years. What made the song different from other R&B songs on today’s radio is its unapologetic allegiance to just R&B without any the current trends of talk-singing or submerging her voice in trap beats. Instead, the DJ Mustard signee sings over a punchy, melodic beat layered with piano soul fit for a SoundCloud generation who wants nothing but a good vibe.

 

Mai ultimately stands out in the space of female R&B singers to crossover from Britain in the last 10-15 years, as her music isn’t an old-fashioned throwback to ‘60s or '70s soul. Instead, she offers a sweet and not overtly sexual side with plenty of earworm on songs like her sleeper hit where she scats, “Ba-dum, boo'd up/ Biddy-da-dum, boo'd up” over the hook. With the co-sign of radio programmers and her debut album going gold right out the gate, Ella proves that you must never count out the power of R&B music. —Khaaliq Crowder

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“Old Age” - Masego feat. SiR

Consummate charmer and superior saxophonist Masego is joined by TDE crooner SiR on “Old Age,” a playful homage to the benefits of dating up. As Uncle Sego himself shared, the song was inspired by his experience with an older woman who ended their relationship because she was convinced age would eventually drive them apart. Produced by duo Jasper and Jah, the single appears as the fourth track on the Kingston-born multi-hyphenate ebullient debut album, Lady Lady, which released in September.

 

Informed by Masego’s self-described “trap house jazz” sound, “Old Age” manages to strike a breezy, mellow tone without losing its underscoring sensuality, or Masego’s loveable goofballishness. Plus, it’s always a refreshing change of pace to see the older-man-meets-younger-woman dynamic that often rears its head in music and culture inverted. Considering Masego’s stage name quite literally means “blessings” in Tswana, we think it’s also O.K. to say this track qualifies as one. —Stephanie Smith-Strickland

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“Trip (Remix)” - Jacquees (and Ella Mai)

“Trip” was a 2018 song that made just as much noise on the charts as it did in the blogs. After Ella Mai’s mid-tempo love song “Boo’d Up” miraculously took off a year after its initial release, her team at 10 Summers knew the follow-up single needed to be just a strong enough to solidify her entry. “Trip” certainly delivered on that, but the song’s trajectory was briefly interrupted by controversy. Cash Money signee Jacquees who, like Ella, built a following from his covering popular hits, took a stab at “Trip” with his own heartthrob-infused version. It was all in good fun, until Jacquees’ label politics got involved. Once word got out that Jacquees was planning on shooting and releasing a video for his version before Ella, her label quickly put the kibosh on it. Not before long, DJ Mustard released a statement explaining why 10 Summers pulled Jacquees’ remix from all platforms. This was an unpopular decision among fans, who desperately turned to Porn Hub in an attempt to keep the “Quemix” in rotation. But at the core, Ella and her management insist that it was all business.

 

One could argue that the friction between Ella Mai and Jacquees helped boost the popularity of the record. But truthfully, what sets “Trip” apart is just that it’s a really f**king good song. The melody, cadence and lyrics are just a marriage of good old classic R&B. It’s soothing enough to play while recovering from a breakup, yet catchy and clever to vibe out to your morning commute. If you’re an old school R&B lover, you’d be trippin’ not to have this song—whether Ella’s original or Jacquees’ twist—on your playlist. —Jasmine Grant

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“Whipped Cream” - Ari Lennox

(Sighhh) What a wonderful feeling it is to arrive at the crossroads of taking the path to successfully getting over a previous lover or the path of willing that special someone back into our lives. Just kidding, it's over for those who can't see the light that you shine, but when that song of longing and what-ifs comes along, one can't help but play see-saw with the emotions that accompany a break-up.

 

Ari Lennox tackles that feeling on "Whipped Cream." The impressive R&B artist sings about the difficulty in getting over an ex and how the most stoic tasks like watching television can easily snap your mind into a fantasy of how things used to be. "I've been cryin' at night, holdin' bullet tight/ Hopin' I meet someone different, but it's true that I don't," she sings. Although this type of content isn't new to music lovers, there's something about Lennox's straight-to-the-point, not afraid to really say how she feels lyrics that inspire the listener to confront what's hard to admit. Honesty proves to be part of the ingredients to a memorable record.

 

For Lennox, her "Whipped Cream" concoction pulls the listener in from the first drum beat thanks to producer Elite, accompanied by the Dreamville singer's one-of-a-kind tone. Even as she reiterates the "I wish" line, it makes you wonder whether she wishes her lover would return or if she truly longs for that feeling of not caring. —CA

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“Tints” - Anderson .Paak feat. Kendrick Lamar

Doing it big for California, Anderson .Paak and Kendrick Lamar did the West Coast proud with their single “Tints.” Produced by Om’Mas Keith, the four-minute track straddles the border of hip-hop and R&B by incorporating the sounds of groovy guitar strokes and skillfully crafted beats. Barring the balancing act between a hard-hitting rap lyricist and traditional singing, “Tints” leaves the MCing to Lamar, who delivers the perfect 16 over a manipulated version of the high impact beat, allowing Lamar’s Cali swag to ride over the melody of guitar riffs and bass drums, the verse pairs well with the Oxnard native’s spunky chorus. A song dedicated to riding dirty with the windows tinted, the 32-year-old and the “Bi**h Don’t Kill My Vibe” rapper have created a song that has taken on a new meaning with an innuendo for getting fellatio in the car.

 

Marking itself as the first single from Anderson .Paak’s most recent album Oxnard, the lyrical exchange is the third to take place between the two California artists. The pair previously linked bringing “Deep Water” from Dr. Dre’s Compton album and “Bloody Waters” featured in the Black Panther soundtrack. “Tints” separates itself from the rest, packing a heavier punch with the high spirited inflections that make this track feel light-hearted. Possibly one of the better hip-hop collaborations of 2018, “Tints” rises above the expectations of any Instagram picture the two could post promoting the track and manages to keep you dancing year-round with its funky spin on hip-hop and R&B. —Zoe Johnson

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“Girls Need Love” - Summer Walker

Summer Walker doesn’t hold back. On her lucid femme anthem, “Girls Need Love,” Atlanta’s ethereal singer is in charge as she makes a candid request for love making. With her warm and serene vocals she plainly sings, “I just need some d**k, I just need some love,” but her plea is not to be mistaken for carnal co-dependence. She’s authoritative and makes note of the power she holds to satisfy her partner or be his “healing” while in the act — it’s mutually beneficial exchange. Walker’s decisive and sexy songwriting quickly resonated with listeners. On the singer’s low-key Instagram account, she’s reposted videos of a few fans and even music artists like Kash Doll and Ella Mai singing along to the liberating tune.

 

To those who do not acknowledge the validity of a woman’s sexual autonomy, the transparency of the song may only seem tempestuous and bold. But as Walker is forthright about her desires, the track is also a space for her and other women to be tender and vulnerable in this search for satisfaction. In the chorus, Walker takes the time to call out the overwhelmingly misogynistic ideals that push back against women being in command of their bodies, sex, and how they want to experience it. "Girls can’t never say that want it, Girls can’t never say how/ Girls can’t never say they need it, Girls can’t never say now," Walker sings. The song ends on her honeyed ad-libs and runs that lead up to one melodious question, “So what’s a girl to do when she needs loving too?” —Lakin Starling

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“Black Bonnie” - Wale feat. Jacquees

Wale had a productive 2018, signing a new deal with Warner Bros. and releasing a trio of EPs. All three EPs showcase a seemingly reinvigorated Wale bouncing back after receiving a lackluster response to his 2017 album, Shine. Though he's been hinting at retirement on Twitter recently, between the EPs and other assorted tracks he's dropped this year, at the very least the DMV rapper was in a great place musically in 2018.

The Jacquees-featured “Black Bonnie” is a great example of Wale playing to his strengths, so it comes as no surprise that it is the clear standout from his romance-focused It’s Complicated EP. It's also one of the best songs of the year. On “Bonnie,” Wale is comfortably in his wheelhouse pitching woos and weaving extended metaphors about the perfect woman, all while wielding the sharp wordplay that is his signature.

 

Jacquees made a lot of noise this year for singing other artists’ songs, but his “Black Bonnie” hook is a reminder that he's a talented artist in his own right, and production team Ayo and Keyz created a memory foam plush soundtrack for Wale's ode to the perfect partner in crime. With a strong 2018 in the rear view mirror, let's hope Folarin can carry this momentum to more success in 2019, and leave the retirement talk in the past. —Greg Whitt

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“Everything” - Ella Mai feat. John Legend

There’s a certain kind of joy that comes from hearing the musical chemistry two recording artists have on wax, regardless of whether or not that professional interaction translates to their personal lives. However, it’s another pleasure entirely to actually feel it for yourself, especially when it’s a love song.

 

In an unlikely match, Ella Mai and John Legend’s voices join together in a marriage of melodies that melt through the skin and wrap around the bones. Her tucked away gem, “Everything,” puts listeners in the shoes of two lovers standing face to face, letting every warm emotion swirling in their cores pour out into the tiny space between them. “You notice everything/So I give my everything/My pain and my struggle, my friend and my lover/I put that on everything/Feels like a forever thing,” they sing together, stressing the totality of a love gone right.

 

Before Ella starts talking at the end of the track as a continuation of her self-titled debut LP’s poetry shtick, Legend’s feathery warbles and Ella’s complementary grounded charm decorate tender instrumentation from guitarist Marlon Williams and Quintin Gulledge. It’s like you can already see the flower-laden rom-com scene playing out on a jumbo screen in front of you. Let the inevitable future window-side serenades commence. —Stacy-Ann Ellis

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“Figures, a Reprise” - Jessie Reyez, Daniel Caesar

In 2018, soulful newcomer Jessie Reyez’s gained international acclaim for her earnest singing and songwriting. She snagged four nominations across the MTV Video Music Awards, MTV Europe Music Awards, and the Juno Awards of Canada, winning the trophy for “Breakthrough Artist” at the latter. There, fellow Canadian Daniel Caesar joined her for their re-imagining of her raw heartbreak hymn “Figures” to a chorus of adoring fans.

 

“Figures, a Reprise” is sonically richer than its predecessor—and layered on top of the more complex instrumental is more righteous indignation in Reyez’s voice as she takes up the space her subject has neglected her. “I got a lineup of girls and a lineup of guys/Begging for me just to give 'em a try,” she sings in the first verse, a boast that shows up much later in the original.

 

If Reyez’s solo effort of “Figures” is a snapshot of the helpless rage of one lover scorned, “Figures, a Reprise” zooms out to capture another victim deflated by betrayal. “I got a cup full of whiskey/150/Reasons to leave/I just pray that you'll miss me,” croons Caesar in the song chock-full of raw couplets. With her pen behind some of this year’s hottest Calvin-Harris-helmed hits (“One Kiss” performed by Dua Lipa, “Promise” performed by Sam Smith), Reyez will likely be in high demand in 2019. —Mankaprr Conteh

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“Come Through And Chill” - Miguel feat. J. Cole, Salaam Remi

To experiment requires curiosity, courage and an understanding that what you set out for, you may not yield. There is also something to be said about building a relationship that bears consistent fruit. Singer-scribe Miguel has solidified himself as one of R&B’s premier artists, but it's his steady work with Grammy-nominated producer Salaam Remi and J.Cole that reminds fans comfort zones aren’t always a bad thing.

 

“Come Through and Chill” is the musical equivalent to a “hey big head” text but with more ambiance, maturity and still the uncertainty that what you set out for—in Miguel’s case, a warm body to keep him company on a dreary night—you may not quite get. Longing can be heard in Miguel’s guitar playing, while Remi counters with the pronounced drum pattern. The War & Leisure singer’s intentions are carnal as he tries to play it cool while awaiting her reply. Yet the magic erupts after Cole’s second verse when he flips the sensual record on its head and likens the mental space she’s occupying to the current political and social climate: In case my lack of reply had you catching them feelings/know you been on my mind like Kaepernick kneeling/or police killings/or Trump saying slick sh*t/manipulating po white folks because they ignit.

 

“Come Through and Chill” is more than just a fancy invitation to f**k. It’s a peek inside before someone potentially reaches their peak. It’s the mental warfare we’ve all experienced between our pride and our...parts. We can pretend as if we’ve never sent the “hey stranger” text in hopes to cuddle with no clothes (this writer has definitely sent several of her own) but the truth of the matter is this, sometimes you get a flashback of that one time and you hope that one time isn’t the last time. —Shenequa Golding

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“Gonna Love Me” - Teyana Taylor

With “Gonna Love Me,” a song that plays to the mood boards of love, Teyana Taylor gently sings its parallels and how we grow through the wins and losses. At a glance, love can be declaring, much like the singer’s proclamations on the first verse. From seeing her partner as a “shining star” to owning her own faults, Teyana discovers what truly matters in her world of love. The second verse follows up with lessons learned under the pain, switching the chorus subject from him to her.

 

The song’s video takes her love one step higher thanks to raw home videos of her family and dedication to her craft. Footage of her journey in marriage, motherhood and her career reminds us her around the way girl personality, a character trait that sets her apart from other R&B vocalists in 2018. With a diligent and gentle 1970 sample of The Delfonics’ “I Gave To You,” the veil of romance continues, showing a softer side to the fierce entertainer. This summertime-like gem reminds us all of Teyana's ability to foster rich R&B in a time where all eyes seem to be on it the most. The song was a favorite on the Billboard R&B charts and takes us to a place where love is gentle, reassuring and kind. Despite the clouds in her creative process (a la the rollout for K.T.S.E.), at least we get another modern R&B gem to bump from the aux. —Desire Thompson

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“D’Evils” - SiR

Mary Jane has always been a temptress. Her alluring green eyes have long been the reason for relaxation, clarity, kinship, and creativity. TDE’s SiR, who has wallowed in throes of her aura for some time, quietly released one of the year’s best albums with November, and of the record’s 11 tracks, “D’Evils” (pronounced dee-evils, not devils) is a hats off to the magic of marijuana.

 

Sampling reggae musician Billy Boyo, SiR croons about the delicious effects of his main chick. Whether it be talking his sh*t (“never had a problem that I couldn’t solve/it must be official if I get involved”), or just how robust his romance with Ms. Jane actually is (“a quarter pound of fire burning daily/harder to remember getting harder to remember”), in SiR’s world one spliff a day indeed keeps the evils away. Or, at least so says the chorus.

 

Echoing the high is the sonic bed SiR’s lyrics sit on top of. The bounce is palpable but the vibe is chill. You feel like you’re driving down the 405 right as the sun sets and the top is down, all may not be right, but everything ‘gon be alright. As a woman who doesn’t partake in the festivities of the greenery, I cannot relate to the Nirvana SiR and countless others have sung about. Weed isn’t my thing, I’m more of a red wine gal, myself. But the sense of calm that comes with SiR’s voice and his music, is a drug I can definitely get with. —SG

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“Feels Like Summer” - Childish Gambino

As part of his Summer Pack release in July, Childish Gambino’s sunny “Feel Like Summer” arrived right on time. Observing the world’s moral obligations can be a real downer but thanks to Gambino’s effortless vocals, topics of climate change and our refusal to truly live life without filters transformed the song into a conscious bop.

 

The video gives fans and critics what they want: a visual that plays to our love for pop culture. Animated black entertainers play the roles of everyday folks in the summer sun, keeping us intrigued while schooled on what’s happening in the game. Gambino's music videos have always been artistically crafted, but "Feel Like Summer," told a variety of stories and made statements about the generational gap between today's buzzy artists and the legends who respect them. Minute decisions like honoring fallen rappers like Fredo Santana on Beyonce's t-shirt and XXXTentacion as 2/3 of Neapolitan ice cream are why his style flexes above the rest.

 

Gambino’s subtle philosophical approach to “Feels Like Summer” also makes it clear that the moniker’s last recordings will mean the most. If you’re going create a playlist as the world ends, “Feels Like Summer” is more than fitting for when steam rises from the concrete and earthquakes shake up Williamsburg. —DT

In This Story:
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  • Ari Lennox,
  • childish gambino,
  • Ella Mai,
  • Jacquees,
  • Janelle Monae,
  • Jeremih,
  • Jessie Reyez,
  • John Legend
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J.Cole, Teyana Taylor And Other Snubs Of The 2019 Grammy Nominations

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