Before photographer and Exquisite Eye Studios founder Breyona Holt captured the likes of music phenoms Coco Jones, Halle Bailey, Giveon and bLAck pARty, she got her drive from her hometown of Atlanta.
Currently based in Los Angeles, Holt credits the ATL scene for showing her the grind and hunger that she’d need as a burgeoning artist. It was in the mid-2010s that she kept SoundCloud selections on repeat, listening to acts Smino, Tommy Genesis, Raury, and Awful Records’ Alexandria. Even in her eight years spent on the West Coast, Holt’s mind hasn’t left her southern beginnings, which would come to shape the color theory and contrast in her commercial, editorial and cover artwork.
“We really grew up on dance cultures [in Atlanta], so the music really inspired a lot of the work that I was creating,” Holt tells Uproxx. “When I first started, my photography was very moody, and I think once I moved to LA, over time, I did see that my word got brighter, and I was kind of pulling away from what made me stand out as an artist. I had to take a step back like, ‘Okay, I don’t want to pull too far away like staying into the lines and following the trends and what LA has.’”
But while Holt would depend on her music playlists to soundtrack her mood while editing photos, she credits her father’s early film photography as an influence. Even as a singular visionary, Holt showcases that influence through grainy, analogue photography images of subjects like SZA and Normani.
Giveon
“I [loved] when I was going to his archive and what that would make me feel,” Holt says of her father’s works. “So even though I was mainly shooting on digital cameras at that time, I was trying to mimic that feeling that film made me feel. So the colors that you get with film is just a very organic type of feeling. I would say my dad was really one of my biggest inspirations at that time.”
Through her lens, Holt keeps an eye on individuals across entertainment, but viewers find her photos of Black women to be the most definitive. There’s an artist-to-subject unison where Holt channels the strength of Black womanhood and represents it with dignity. Holt’s portfolio exhibits crisp colors against genuine facial expressions and poses. Most of all, the Black femme energy radiates.
“I believe that it’s very important for us to be seen in a beautiful light and I think that sometimes, when Black women or Black men are the subject, we get the short end of the stick,” Holt says. “Whether it’s how we’re being lit–it doesn’t always represent us in the most powerful or the most uplifting way. Who I am at the core, I love art so much, and I want to make sure that we’re being documented and being seen in the best light, because these things will matter today and to generations to come.”
Since taking the cover art photography for albums like Joyce Wrice’s Overgrown, Coco Jones’ What I Didn’t Tell You, and Amindi’s TWYN, more recently, Holt shot the cover image of Halle Bailey’s new single “Because I Love You.”
“Her voice — she’s literally a siren; her voice is very angelic,” Holt says of Bailey, a fellow Georgia native. “Even just the instruments that she chose to use throughout the record. It was just something so refreshing and something I haven’t really heard before. When you hear a record like that, that inspires the colors you use. Just working with her on that project–the sound and the song is really what inspired the approach of the cover art, and I think it reflects the music video, which was incredible.”
Joyce Wrice
The commanding and vulnerable song would come to reflect Bailey’s confident stance on the artwork, which took on a life of its own. “Even down to the posing, all of those factors matter with the cover art. I’m so happy she chose that photo as the cover,” Holt continues. “I think it was empowering how you know her hands up, her chest out, the arms up–it’s just a very powerful image, and I’m just so happy to have this in my portfolio and to be a part of this.”
On capturing her muses, like the hair-blowing moment-in-time cover of Overgrown or 1970s funk ode on the cover of bLAck pARty’s Hummingbird, Holt likens the interaction to a “dance” between herself and the muse.
“These are real moments and actions for the most part. It’s not like ‘We’re going into these cover arts, and we want you to pose exactly like this,’ because I feel like it would come off a little forced and people would feel that,” she shares. “But these are real moments listening to the music on set, we’re in the vibe — this is a real emotion that they’re expressing through their body, through their face and the color is just there to amplify what’s happening.”
Except for the textured collage on the TWYN backdrop, Holt’s cover art is fairly minimal in practice, keeping the viewers’ gaze on her subjects, and the photography is a visual interpretation of their music.
“When I’m hearing the music, because I really enjoy color theory, it’s about ‘What is this making me feel?’” Holt says. “I think you can communicate a lot through color theory, you can evoke an emotion through the colors that you choose to use. I think using minimal backgrounds, for me, helps you focus on who the subject is. I love a moment where the environment is just an add-on, but like the eyes, the facial expression, the mood of the body language in the model, all of that really matters to me.”
Halle
Along with her photography, Holt calls it a “greater goal” to take her still images to the screen as a filmmaker, especially since she’s built her portfolio as a music video director and creative director.
“Although I started off, and I’m able to grasp people’s attention through my photography, I think people have taken a chance with me when it comes to these music videos,” Holt says of her budding path in filmmaking. “[I’ve] even shocked myself at what I’m able to create as a director, but as I continue to explore with music videos, I would love to grow in that field and do more short films and let that grow, as well, into longform video, movies and things like that.”
In continuing to document the culture, Holt also has her hands in tactile fashion projects under her Exquisite Eye banner, but presenting Blackness in an authentic lens remains integral to her purpose. Holt embraces her roots, and it shows in her life’s work.
“I just love my culture. I love being Black and I love how we always create such beautiful art no matter what,” she says. “To be in this day and age and be able to have the internet and be able to share my art and people gravitate to it, or they feel inspired by it, I’m just doing this for the bigger picture.”
Now, fans are hoping that Normani will hit the road for her first ever solo headlining tour. But is Normani down for it? Continue below for more information.
Will Normani Go On Tour In 2024?
Although a recent injury held Normani back from performing at the 2024 BET Awards, that hasn’t stopped her from wanting to tour. On July 20, Normani sat down with Access Hollywood to discuss her future plans, which included a tour. But it is unclear if that trip around the world will happen in 2024.
When asked by co-host Mario Lopez if she wants to tour, Normani quickly answered: “Yes.”
She then went on to talk about “I’m really excited for that,” she said. “That’s what I’m most excited for. I’m like, ‘I’ve been in the studio for a minute.’ But I have so much bottled up in me. I feel it most when I’m at home–on stage. So I’m excited for that and to see my fans. To see them. It’s been a minute.”
During her time with Fifth Harmony, Normani has rocked many stages. Even as a solo act, she supported Ariana Grande’s Sweetener World Tour. But she’s never headlined her own performance run. So, there is a demand there.
Watch Normani’s full interview with Access Hollywood above.
Normani finally released her debut album Dopamine on June 14, after years of delays and questions about whether the album existed at all. However, she is now being accused of neglecting to properly credit all the songwriters who worked on the album. Songwriting credits are a very important part of the popular music creating process. Failing to credit everyone can be a source of frustration for those who worked on the creation of an album.
Tayla Parx is a Dallas-based singer and songwriter. She’s worked with some of the biggest names in music, including Ariana Grande, Dua Lipa, and Megan Thee Stallion. She has also worked with Normani in the past, co-penning the multi-platinum hit “Love Lies.” Parx wrote on “Insomnia,” a track from Dopamine. The track also features contributions from Brandy and Victoria Monet, both of whom have writing credits. On July 15, she took to X (formerly Twitter) to make her issues with the lack of credit known.
Tayla Parx Reacts To Being Uncredited on Normani’s Album
It’s crazy cause I haven’t listened to the album yet and this is how I’m finding out I’m on it … no credit , no business done . People that I’ve known forever. Just dropped my shit and left me off lol okayyy! #taylamadehttps://t.co/tNNV3P8kbg
Parx is listed as a songwriter for “Insomnia” on Spotify (as of writing, on July 17). However, she is notably absent from the list on Apple Music. In an interview with Zach Sang to promote her album, Normani sang the praises of Brandy and Victoria Monet. Later in the interview, she mentions Parx by name, adding that she hadn’t seen her “in ages” and agrees with Sang when he calls her an icon.
Fans had a mixed reaction to Parx’s post. “You could’ve DM’ed her, but ok,” said one user. Another user took the opportunity to say Normani’s album flopped, adding that she “wouldn’t have made any profit from it.” One joked that they could “work it out on the remix,” referencing the Lorde-featuring remix of Charli XCX’s song “girl, so confusing.” As many songwriters have made clear over the years, the issue with losing out on credit is not always the lack of pay that comes from that. They want credit for something they helped create, as many people do. Beyonce’sRenaissance had over 100 credited songwriters, for example. That is not the norm, but it shows how many people can go into creating music. Hopefully Parx and Normani can actually work it out on the remix, as they’ve been successful collaborators for years.
After several frustrating delays, Normani’s long-awaited debut solo studio album, Dopamine, has made its way into the world. However, the “All Yours” singer is being accused of cutting a few industry corners in the process.
Recording artist, songwriter, and producer Tayla Parx claimed Normani excluded her from the production credits, specifically on track, “Insomnia.” On X (formerly Twitter), Tayla reposted a clip from Normani’s June appearance on the Zach Sang Show, to officially call her out.
“It’s crazy ’cause I haven’t listened to the album yet,” she wrote. “And this is how I’m finding out I’m on it. No credit. No business done. People that I’ve known forever. Just dropped my sh*t and left me off LOL okayyy.”
It’s crazy cause I haven’t listened to the album yet and this is how I’m finding out I’m on it … no credit , no business done . People that I’ve known forever. Just dropped my shit and left me off lol okayyy! #taylamadehttps://t.co/tNNV3P8kbg
However, in the credits tab on Spotify, Tayla’s name does appear as a contributing songwriter, at least as of today (July 16). Could this have been a temporary technical issue?
Spotify
Also, during the interview, Normani and Sang volleyed praises of Tayla’s talent. “Tayla Parx is one of the greatest songwriters… She’s an icon,” said Sang.
Normani then added: “I know. I miss her. I haven’t seen her in ages… Yeah, she really is.”
Watch Normani’s appearance on the Zach Sang Show above.
Dopamine is out now via RCA. Find more information here.
Why Didn’t Normani Perform At The 2024 BET Awards?
Before the show, Normani revealed she had sustained an injury that forced her to call the performance off. In an Instagram Story, she explained:
“I am more frustrated and disappointed than anyone believe me. I wanted to get on here and give you guys an update letting you know that while in rehearsals for BET I had a really bad accident and injured myself. I am normally good for powering through under any circumstance but unfortunately due to my doctor’s orders, I am just not able to make this performance happen. I desperately wanted to give you my best on that stage but performing would delay my healing. I have been going through my process and doing my best to make sense of my feelings regarding this. I am devastated and hate feeling like a disappointment to you but I have to focus on recovering at this time. Trust me, I hear you, and I see you. There is nothing more that | wanted to do than perform for you and also, get back to doing what fulfills me most- BEING ON STAGE. Thank you so much for understanding. Sending my love to BET for giving me and all of the other beautiful black women this opportunity. This is definitely NOT how l envisioned this weekend but best believe I will be championing everyone from home tonight.
I’m sorrrrrrrry guys and love you so much.”
She later shared a photo showing her right foot in a walking boot and her right knee bandaged up.
The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Normani is a showstopping performer no matter the texture, tempo, and emotion at hand. Since her departure from Fifth Harmony, the singer proved time and time again that she can capture the attention and applause of her audience by doing just what a song calls her to do. It’s never too much, and it’s rarely underwhelming. “Waves” with 6lack, released back in 2018, is a climatic pop-leaning record that places Normani’s soaring vocals and sweet falsettos over grungy and moody production that also perfectly juxtaposes 6lack’s lower register. When given a roomy canvas, like on her 2021 song “Fair,” Normani makes sure her voice fills the room with runs that travel uninterrupted from stage to seat. On her long-awaited debut album Dopamine, she manages much of the same through performances that are not only impressive but liberating and boldly sensual in ways that add a new dimension to Normani’s artistry.
The road to Dopamine was a long one undoubtedly, but seemingly instrumental in developing the artist we hear on her 13-track debut. “Motivation,” released back in 2019, was the turning point for Normani – a prelude of sorts for Dopamine. With an upbeat spirit and triumphant production, Normani stepped out on her own to prove her readiness for the spotlight. A splashy video arrived with the song and presented Normani as a performer who could captivate at any given moment. The way we see Victoria Monét now is the journey Normani seemed ready to set out on. Dopamine is much darker and gloomier than “Motivation,” but it still grasps the attention of onlookers with the same elements: lyrics that dig deep into the emotions, production that caters rather than distracts, and a singer who sees all the tools at hand and knows just what to do with them.
Proof of this lives on “Candy Paint,” the grown-up version of “Motivation.” In an interview with Elle, Normani said the former “bridges the gap, I think, between ‘Motivation’ and where I am now.” Both aim to entice a lover with the golden gift of intimacy, but the latter plays it safe and colors inside the lines that separate discreet and compliant from defiant and bold. “Candy Paint” presents Normani on the other side of the border, where the freedom that comes with it is too good to hide. “If you let me take him, you might never get him back,” she sings with undeterred certainty. “I’m a baddie and I don’t know how to act.” This liberation is the foundation for Dopamine. It’s a flag that Normani proudly stakes into the ground in the world her debut lives in and she wastes no time exploring it.
“Big Boy” kicks off the album in dominant and assertive fashion. “Only ever see this type of sh*t in the movies,” Normani boasts over trunk-rattling production backed by New Orleans-influenced trumpets. Anchored by woozy synths and Houston’s trademark screwed-up production, Normani remains assertive on “Still” as she brags about her status and being “too busy livin’ my life.” Normani’s newfound liberation is the light at the end of the tunnel. She reached it only after a long journey that saw her work through the emotional whirlwind that included both her parents being diagnosed with cancer and the critiques of fans who were too impatient to offer her the grace to grieve and come back to music on her own terms. It should come as no surprise that Normani’s escape from the dark times has pushed her to live each day to the fullest.
Normani’s assertiveness doesn’t only take shape over grand productions that call for an epic performance. It’s just as present in more timid moments that swap the lively energy of a party for the burning passion of bedroom intimacy and the overwhelming emotions behind heartbreak. She sees no worrisome risk or penalty in being painfully honest in pain or brutally forward in her sexual desires. “Distance” begins as a timid and soft-spoken account of a partner’s failures in a relationship before erupting into an epic declaration of the end of a once-promising love story. On the flip side, Normani seduces her partner with the summoning “Lights On” as she whispers sultry requests that are sure to make the ear melt. “Don’t even address me unless you gon’ undress me,” she sings before promising to “make you come fast like a ’98 sports car.”
Dopamine delivers samples of all the lanes Normani can switch into and thrive in at any given moment. She finds comfort in the bounce and joyous trumpets of New Orleans and the woozy sounds of her Houston hometown as much as she does the vulnerable and emotional moments heartbreak can bring. With that being said, Normani’s debut is more than a display of versatility, it’s a statement of status and evidence of how she can sweep her suitors and competitors off their feet with ease. The question is never “Am I enough?” or “Can I compete?” or “Can I stand out?” for Nomani who instead, understands that she is the prize. Within the confinements of Dopamine and the mind of the artist who created the album, doubts about its quality are about as present as a skippable track on the album. Normani the person went through hell in the half-decade journey to Dopamine, but in the end, Normani the artist emerged from the fire to be the bright and free star we always knew she could be.
Dopamine is out now via RCA Records. Find out more information here.
For years, a recurring theme in the Normani fan community has been waiting for her to release her debut solo album. Normani herself even got in on the fun by announcing the long-awaited project’s title with a website, wheresthedamnalbum.com. While Normani is now cracking jokes along with her devotees, she admits there was a point where the jokes weren’t quite landing with her.
In a new interview with Apple Music’s Ebro, Normani explained:
“I would be lying if I said I didn’t feel impact by that, personally, because I know everything that I was going through and enduring. I’m like, ‘I promise, I care, I’m still here, I’m trying.’ Literally, I’ve dedicated my life, every ounce of my being, to this project and to this very moment, so I don’t want anybody thinking the opposite. But I feel like it’s something I can laugh about now.”
Earlier in the conversation, she noted, “I’ve just had so many roadblocks, I would say, that people didn’t necessarily know were taking place, and things that were beyond my control. My mom was diagnosed with breast cancer, and then the following year, after going through that as a family, my dad ended up getting diagnosed with prostate cancer. I’m sure, as you can imagine, having to endure that while also trying to continue to get the ball down the field and get this project out, it just came with a lot. There were days that, honestly, I didn’t feel like getting out of bed, and it’s hard to be creative and hard to be motivated and continue to be inspired.
First things first: R&B is not dead. It’s a necessary reminder that’s just as annoying to repeat as it is to hear from the occasional critic of the genre. I mean, when you look at what the genre has delivered in 2024, it’s hard to deny its life. In the first six months of the year, fans saw the return of veteran artists who went years without releasing a full body of work. Bryson Tiller re-emerged with his self-titled fourth album, his best body of work since his 2015 debut. PARTYNEXTDOOR brought back the classic feeling of his mid-2010s music with his own fourth album PARTYNEXTDOOR 4. Finally, after nearly a decade without a project, Anderson .Paak and Knxwledge’s NxWorries finally delivered a new album with Why Lawd? and lawd did they deliver.
On the flip side, there were plenty of newcomers who expanded their fan base with well-crafted debuts and sophomore albums. Normani’s long-awaited debut album Dopamine met all expectations as did Tems’ debut Born In The Wild. Sinéad Harnett, Fana Hues, and Loony were nothing short of captivating and with their outputs and then there’s DJ and producer ESTA. who constructed one of the best compilation of R&B artists we’ve seen over the last few years.
There’s so much to love from R&B so far in 2024, so let’s get into it. Here are the 15 best R&B albums of 2024 so far:
Bryson Tiller — Bryson Tiller
Bryson Tiller
Bryson Tiller told Complex that his self-titled album would “probably be my last one for a minute.” Enduring another Tiller hiatus? Bummer. But Bryson Tiller‘s entrancing 19 songs eased the melancholy — reinforcing Tiller as a reliable rap/R&B reservoir. “Whatever She Wants” led the charge — peaking at No. 5 and No. 19 on Billboard‘s Hot Rap Songs and Hot 100, respectively. Save for excellent Clara La San (“Random Access Memory [RAM]”) and Victoria Monét (“Persuasion”) features, Tiller allows fans precious alone time with his perspective. “Hope you don’t get bored with me over time,” he sings on the ballad “Undertow.” We won’t. — Megan Armstrong
Charlotte Day Wilson — Cyan Blue
Stone Woman Music/XL Recordings LTD
Charlotte Day Wilson’s ‘Cyan Blue’ album cover
The realm of alternative R&B is a playground that Charlotte Day Wilson makes an alluring experience. The soft-voiced Toronto singer woos the ear with seranades sweet enough to bring peace to the mind and body. Her second album Cyan Blue is no different, but it does mark a new chapter for Wilson. The pressures to create a perfect body of work withered away before Cyan Blue and out came a 13-track captivating experience. She waxes poetic about leveling up in love “My Way” and triumphs over her detractors on “Canopy” which is as slick as we’ve heard Wilson. With Cyan Blue, Charlotte Day Wilson breaks free from her own limitations and that of others for an album that is truly free in all the best ways.
ESTA. — Francis
PARADIS
ESTA. ‘Francis’ album cover
For years, producer ESTA. stood behind the boards to help craft some of the better offerings in contemporary R&B. Still, his true vision with the genre had to be put on display until the release of his debut album Francis. Through just ten songs, ESTA. explores the field and widens the boundaries with help from artists who established their chemistry with ESTA. years prior. A funky tunes get kicked into high gear on the DUCKWRTH and Joyce Wrice-assisted “Too Fast.” Kenyon Dixon and Mack Keane excellently capture the emotions and thoughts behind a relationship that’s falling apart on “Outta Space” while Arin Ray captures the initial moments of a magnetizing love on “Controllin.” On each song, ESTA. proves that he’s a master of the soundscape, and by selecting the most talented artist for the moment at hand, Francis strikes as one of the best crafted R&B albums of the year.
Fana Hues — MOTH
Sweet Virtue/Westminster Recordings/Bright Antenna Records
Fana Hues ‘Moth’ album cover
Fana Hues arrived to sir the soul and blow the mind away with her third album Moth. Through 13 songs, Hues emerges as both electric and gracious, ferocious and pristine, in what amounts to a truly otherworldly experience from the Pasadena singer. Look no further than the sassy “Rental” which explodes into a summertime bop wrapped in the confident struts of a singer ready to take on the world. “Sweetlike” opts for a sultry and playful breakdown of two lovers’ dynamic while “What Speaks” unwinds and oozes into a plea for Hues to enter the mind of her partner. Moth is unlike any other R&B project released this year, making for yet another standout moment by the incomparable by Hues.
Jordan Mackampa — Welcome Home, Kid!
AWAL Recordings LTD
Jordan Mackampa ‘Welcome Home, Kid!’ album cover
Four years after his debut album, British-Congolese singer Jordan Mackampa determined that it was time to reintroduce himself to new and old fans. Welcome Home, Kid! brought an unapologetically soulful artist to centerstage with the ability to uplift the mind and boost the heart with just one verse. “Proud Of You” keeps you light on your feet with a giddy dance and “Step By Step” takes you to church with glorious trumpets, lively drums, and the energy that only a family cookout can provide. Welcome Home, Kid! celebrates the moment that things start to make a little more sense. Jordan Mackampa’s second coming as an artist is also the rediscovery of his purpose, something incredibly evident on his sophomore album.
Loony — Loony
LOONY
Loony ‘Loony’ album cover
The first thing that will probably catch your attention about Toronto singer Loony is her silky smooth vocals that always make it a joy to indulge in her music. Her self-titled debut album employs these vocals for a riveting tale of rising out of the perils of failed love and persevering onto the next thing. Loony thrives with deeply honest and self-aware moments like “Too Attached” where Loony admits her inability to exit an inadequate relationship in a timely manner. On the flip side, “A Good Night” wastes no time throwing it all away and disregard the wishes of her partner. Among that, there are still bright moments. “First Thing Smokin’” sweetly sings of an unconditional love while “Tiger Eye” prioritizes the fun of today and disregards the worries of tomorrow. Loony is as fun as it is honest, making for an enjoyable experience we can all relate to.
Normani — Dopamine
RCA Records
Normani ‘Dopamine’ album cover
There were times where it seemed like it would never come, but Normani made 2024 the year to finally release her long-awaited debut album Dopamine. Through 13 songs, Normani makes her debut worth the wait by inducing the same euphoria in her listeners as her album title is known to produce. “Big Boy” with Starrah commands the room with impenetrable confidence as Normani brags about her accolades and Houston roots. “Insomnia,” one of Normani’s best songs, finds her suffocated and restless over heartache. “Take My Time” flashes her versatility with a high-energy dance record while “Tantrums” opts for a dark and gloomy set up. With Dopamine, Normani is free; free to showcase her artistry in its truest and best form, true to live up to and past the artistic standards before, and free to say “I told you so” with a debut that stamped the promising career that awaits her.
NxWorries — Why Lawd?
NxWorries
It took them nearly eight years to get it done, but Anderson .Paak and Knxwledge’s NxWorries finally released their sophomore album Why Lawd?. Where their 2016 debut Yes Lawd! was a celebratory affair dressed in the funky beats and the high spirits of .Paak, Why Lawd? is born out of turmoil and heartbreak. .Paak weathers the storm of lost love with his emotions on his sleeve, remaining brave and confident despite a tear streak down the eye. “FromHere” contemplates the next move follow love’s sudden absence and “Where I Go” acknowledges the ups and downs present in a relationship. “MoveOn” struggles to adjust to change while the brief “DistantSpace” hopes for a final chance despite romance’s departure. Why Lawd? presents that very question in the aftermath of heartbreak, and though it never receives a proper answer, the exploration of it makes for another impressive album from NxWorries.
PARTYNEXTDOOR — PARTYNEXTDOOR 4
Santa Anna/OVO
The PartyNextDoor of old — that is, the one from the mid-2010s — re-emerged thanks to his fourth album, PartyNextDoor 4. The signs for a return to classic days were there thanks to singles like the scornful “Her Old Friends” and the praising “Real Woman.” With PartyNextDoor 4, though the feel is reminiscent of the past, we’re presented with a story of the singer who wants to grow from the man behind the mic on past projects. Genuine strides for authentic love are made on PND’s fourth album, more so than we heard on past bodies of work. Though he slips into a shell of his past on a couple of occasions, the desire and effort to be better makes PartyNextDoor 4 an excellent listen, especially when it houses one of PND’s best-composed songs to date with “No Chill.” — W.O.
Serpentwithfeet — Grip
Serpentwithfeet ‘GRIP’ album cover
With his third album Grip, Serpentwithfeet enters a new era in his career. The ten songs on the album find the Baltimore singer in touch with the more personal sides of his life as the album explores intimacy in romance, whether that be the touch of the hand around in the waist of your partner during a night out at the club as depicted on “Damn Gloves” or the accidental discovery of deep love following the “sixth night of a one-night stand” as Serpent sings on “Deep End.” Grip, just like Serpent did, finds its home in the flashing lights of Black queer nightlife and celebrates the communities within it that made Serpent comfortable enough to express himself. The sensitivity and the attention to detail are among the ingredients that make Grip a captivating listen.
Shaé Universe — Love’s Letter
Shaé Universe
Shaé Universe ‘Love’s Letter’ album cover
Nigerian-British singer Shaé Universe’s second project Love’s Letter is a nostalgic trip to the past meshed with modern influences from today’s R&B world. Inspiration from the likes of India.Arie, Brandy, and Lauryn Hill are hard to ignore through the project’s ten songs, but Shaé makes them her own for a body of work that could indeed stand the test of time. Love’s Letter ponders what it would be like for love to deliver a letter for each phase of your life, and what amounts from it are moments of true love, self-love, and the absence of love. “More Than Enough” is a moving reminder that no love is better than self-love while “LOML” finds Shaé whisked off her feet thanks to the presence of a love like no other. Love’s Letter is one for old-school and new-school R&B fans from an artist certain to be here for a while.
Sinéad Harnett — Boundaries
Sinéad Harnett ‘Boundaries’ album cover
Through a bit of therapy, healing, and reflection came the creation of Sinéad Harnett’s third album Boundaries. The 16-track affair present Harnett at her strongest and most aware as her newfound peace require the utmost protection, which brings to the Boundaries present for Harnett in her life and on this album. “Thinking Less” is both a reflection of heartbreak and a declaration to never accept the bare minimum or less when it comes to love. While “The Most” disposes of an inconsistent love, “Unfamiliar” makes use of Harnett’s newfound wisdom in romance to steer away from a potential relationship riddled with red flags. Boundaries is what the other side of heartbreak is supposed to look like and Sinéad Harnett emerges from it a new woman ready for a new story where she stands stronger than ever.
SiR — Heavy
Tope Dawg Entertainment
SiR ‘Heavy’ album cover
Birthed from a time he calls the “worst year of my life,” SiR’s fourth album Heavy unpacks all the highs and lows of a journey that saw him nearly reach a point of no return in his life. The album’s title track recounts the days where addiction ruled his life. The persistent “I’m Not Perfect” admits to internal flaws while also putting forth the fight to not those flaws control their every move. While Heavy depicts the dark days of SiR’s life, it also captures the brighter days and improvement that found its way to the singer after his period of struggle. The optimistic “Life Is Good,” the self-sufficient “Poetry In Motion,” and the determined “Tryin’ My Hardest” are all evidence of this. In the end, SiR’s Heavy is an emotional, raw, and honest account of picking yourself up at your lowest and getting your life together before it’s too late.
Tems — Born In The Wild
RCA Records
Tems ‘Born In The Wild’ album cover
Three years after her breakout into the mainstream world, Tems’ debut album Born In The Wild arrived as a refreshing tale of how the singer emerged from her shell to become a star. It’s more than a rags-to-riches story. At its conclusion, Born In The Wild is a delightful testimony for the fruits one could bare through faith. Born In The Wild is a balanced affair that captures Tems in as many reflective moments (“Born In The Wild” & “Burning”) as there are joyous and carefree ones (“Wickedest” & “Get It Right”). Furthermore, tales of love like “Unfortunate,” “Forever,” and “Free Fall” are thrown into the pot to make Born In The Wild a complete, excellently crafted debut.
Usher — Coming Home
Gamma/Mega
Usher ‘Coming Home’ album cover
For the last 18 months, Usher thrusted himself into the spotlight to remind music lovers of his legacy. From his eventful and sometimes controversy-producing Las Vegas residency to his 2024 Super Bowl Halftime Show, Usher was nothing but a showman looking to entertain and impress the audience. Much of that is the same on Usher’s ninth album Coming Home, which, true to its title, is a return to form for the Atlanta native. Coming Home combines the best of Usher’s sonic landscapes with elements of traditional and contemporary R&B, upbeat pop, and flashy dance records. Coming Home is arguably Usher’s best output in a decade, but at the very least, it proves why he’s been able to thrive in the music industry.
Normani has officially dropped her long-awaited debut album, DOPAMINE, via RCA Records. This album marks a transformative chapter for the 28-year-old artist as she fully embraces her sexuality and celebrates her journey into divine femininity.
“DOPAMINE” symbolizes liberation and freedom, capturing Normani’s evolution to this pivotal moment. Inspired by the happiness-inducing brain chemical, the album exudes joy and euphoria. Special guest features include James Blake and Gunna, with background vocals from Brandy.
The album starts with the electrifying lead single “Big Boy,” where Normani radiates confidence, boasting about her platinum hits and Billboard successes. With a nod to her Texan roots, she declares, “Pimpin’ like C I was brought up on it,” setting the tone for a bold and introspective album. “Still,” sampling Houston rapper Mike Jones’ “Still Tippin’,” further solidifies her connection to her hometown, with Normani’s voice dripping with swagger as she pledges, “I hold it down for my city.”
Sultry tracks like “All Yours” and “Lights On” highlight Normani’s sensuality with provocative lyrics. “Take My Time” introduces a playful, dance-pop electronic vibe that’s impossible to resist, while “Insomnia” dives into heartache with poignant lines like, “I wish you didn’t call me, cause so much shit reminds me of, cause every time you call me, it’s giving me insomnia.”
The album includes previously released singles “1:59” featuring Gunna, praised by Billboard as “another reminder of the project’s promise,” and “Candy Paint,” described by Paper Mag as “a certified trunk-rattler.”
“Tantrums” offers a surprising twist with James Blake, showcasing a new side of him. The album concludes with the chart-topping single “Wild Side,” featuring Cardi B, a perfect finale to a diverse and dynamic collection.
“DOPAMINE” is a masterful blend of sounds and genres, reflecting Normani’s multifaceted talent. This project, years in the making, is a testament to her dedication and artistry, delivering a body of work that is both personal and universal.
At long last, Normani‘s long-awaited solo debut album is here. Five years in the making, Dopamine features the once girl-group standout taking her artistry to the next level. One of the instantly catchy tracks is the hypnotic “All Yours,” on which, Normani turns up the heat for one special person.
Upon the launch of this new era, Normani is aware of her power. As she says in the songs opening verse, “This kitty got the Midas touch, you turn to gold in it.” But musically, she continutes to remind us of her prowess with the catchy chorus, as she hums and harmonizes over a zippy, futuristic beat.
Almost all of the songs on Dopamine have the potential to be singles, but “All Yours” is a reminder as to why she does it. Channelling the Aaliyahs and the Brandys of the past, Normani delivers a flavor of rhythmic R&B that’s been missing from the landscape for awhile, all while adding her own southern flow. While fans had to wait quite some time for Normani’s proper solo debut, her latest music will surely hold up years from now.
Needless to say, Dopamine proves to have been worth the wait.
You can listen to “All Yours” above.
Dopamine is out now via RCA. Find more information here.
okayyy! 
