genre rb
Page: 14
Coco Jones has released her debut album Why Not More?, and the R&B singer shares how sampling Britney Spears’ “Toxic” for “Taste” came to life, her experience working with an “in love” Future, how she’s defining R&B in her own way, and more! What did you think of Coco Jones’ new album? Let us know […]
Sinners and saints dominated the news last week, following the passing of the late Pope Francis and the continued box office domination of Ryan Coogler’s acclaimed, Michael B. Jordan-led vampire-musical-period drama Sinners.
Sinners once again topped the box office, earning the smallest second-week decline for a R-rated horror title in history. Accompanied by a soundtrack featuring the cast, contemporary hip-hop stars Rod Wave and Don Toliver and blues legend Buddy Guy, Sinners stands as the first true cultural phenomenon of the year.
Coogler’s blues-informed film also gave way to a weekend of formal debuts from the latest generation of rhythm and blues artists. Coco Jones (Why Not More?) and Destin Conrad (Love On Digital), two of Gen Z’s preeminent R&B stars both unleashed their debut studio albums over the weekend, while seasoned R&B greats like Ledisi (The Crown) and Smokey Robinson (What the World Needs Now) dropped their own new sets.
Trending on Billboard
Over on the hip-hop side, Young Thug reiterated his allegiance to Drake and dropped his first single since his release from jail in October 2024; Flo Milli welcomed her first child; and Kendrick Lamar scored 10 nominations at the 2025 American Music Awards, more than any other artist.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Jade Novah’s ode to the ’90s to Aaron Page’s new Domani-assisted joint. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Durand Jones & The Indications & Aaron Frazer, “Flower Moon”
After opening for select dates on Lenny Kravitz’s Blue Electric Light Tour, Durand Jones & The Indications have shared the latest single from their forthcoming Flowers LP. Built on sugary three-part harmonies, mellow guitar, and overall framework ripped from the early ’70s soul playbook, “Flower Moon” is the perfect wind-down tune.
Aaron Frazer handles lead vocals on this cut, his buttery tone adding some beautiful color to picturesque lyrics like, “Well you see, lovers livin’ light like a feather/ Keep it hot in warm summer weather nights/ And the music pours like drinks from the corner/ You can post up too if you want some fun.” The ’70s have had a small moment in popular music ever since the turn of the decade, and “Flower Moon” is one of the rare offerings that rises above the pitfalls of pastiche. — KYLE DENIS
Ray Vaughn feat. Jay Rock, “Klown Dance”
Leading TDE’s next generation alongside Doechii, Ray Vaughn looks to leave an indelible mark on the rap game in 2025 with his The Good The Bad The Dollar Menu mixtape, which he’s compared to his version of Kendrick Lamar’s Good kid, m.A.A.d city. “Klown Dance” finds Vaughn clashing with labelmate Jay Rock, as the pair of shrewd wordsmiths go bar-for-bar over a smooth VanJess sample. The Long Beach native narrates his gritty come-up. “The hood never had a place for doubts/ Look at me wearin’ s–t that I can’t pronounce/ Remember Shaq’s was out/ Couldn’t afford the Jordans/ They roasted a n—a in a Carmelitos,” he raps. — MICHAEL SAPONARA
BunnaB, “Bunna Summa”
Produced by Kristof, BunnaB’s “Bunna Summa” should be played a lot as the weather starts to get warmer. The track, and her Ice Cream Summer EP that she dropped earlier this month, have a throwback sound, as the Atlanta rapper tries to recapture that mid-2000s Southern rap energy. Her music sounds like crisp white tees on a summer day. — ANGEL DIAZ
Flo Milli feat. T-Pain, “Gripper”
After welcoming her new baby boy a few days ago, Flo Milli is back with her new single “Gripper,” which samples T-Pain’s 2005 hit “I’m N Luv (Wit A Stripper).” Flo reimagines the track from the female POV and creates a high-energy anthem that celebrates sexual confidence and not settling for anything less than luxury. She’s in control, calling out a lover who’s hooked on her but reminding him she’s not easily impressed: “Better go buy me a AP.” She balances humor and empowerment, talking about wealth (“I had money before you came”) and independence, while playfully threatening anyone who steps out of line. There’s a lot of flexing, but it’s layered with clever wordplay and a refusal to be undervalued. “Gripper” is a sexy, self-assured banger about knowing your worth, setting the pace in relationships, and embracing your allure. — CHRISTOPHER CLAXTON
Sahsa Keable, “Act Right”
Beyoncé-approved British-Colombian singer-songwriter Sasha Keable is back with her first solo single of the year. Produced by Etienne, “Act Right” finds Keable taking a disappointment of an ex-lover to task over wistful piano chords and plaintive percussion. Perusing both her robust chest voice, raspy falsetto and the full strength of her vibrato, Keable delivers some classic R&B vocal showboating, which the subtle background horns complement perfectly. “‘Cause if you loved me/ You would never hurt me/ That’s to put it simply,” she proclaims in the pre-chorus, as she simultaneously internalizes the truth and holds her torturers accountable. After teasing this track for almost two months, Keable’s full joint meets the lofty expectations. — K.D.
Belly Gang Kushington, “Sorry Mama”
Whether it’s selling $100 white tees or stopping traffic for his From The Streets Performance, Belly Gang Kushington hasn’t wasted any time in 2025 making his presence felt as one of Atlanta’s newcomers, as BGK released his The Streets Is Yours project on Friday (April 25) to capitalize on his momentum. With a penchant for 2000s rap, Kushington calls back to Eminem’s “Cleanin’ Out My Closet” for his cathartic open letter coming clean to his mother on “Sorry Mama,” whom he’s only met a couple of times after she left him as a baby. — M.S.
Bruiser Wolf & Nicholas Craven, “Beat the Charge”
Detroit’s Bruiser Wolf sounds like if Suga Free did spoken-word music about selling drugs instead of the trials and tribulations of a pimp. When you mix that approach with Montreal producer Nicholas Craven’s soulful loops, you get something totally unique. Big Wolf is always good for a great quotable, and there’s really nothing like this out right now, making for a fun, fascinating listen. — A.D.
Aaron Page feat. Domani, “Sympathy”
Houston and Atlanta linked up, and the result is one of the best tracks to drop this week. “Sympathy” finds Aaron Page and Domani opening up about vulnerability, regret and longing for emotional connection. The duo admits they’ve been caught up in the streets — a place that’s offered them no real comfort — and that they’ve been outside for too long, disconnected from love and stability. The “streets” here symbolize the harshness of the world they’re stuck in, making them crave something more nurturing. Produced by B100, Musik Major X and Squat Beats, “Sympathy” is about a man wrestling with his lifestyle and emotions, admitting that he misses the love and peace he once had with someone special. — C.C.
Jade Novah, “90’s Fine”
Modern R&B’s fixation on the ’90s can veer on exhausting, but Jade Novah manages to make that obsession feel fresh with her new “’90s Fine” single. Produced by husband Devin Johnson, “’90s Fine” finds Novah floating over a soulful, percussive mid-tempo landscape accented by subtle synths and delicate strings. It’s a meticulous ode to the song’s namesake era, but the contemporary sheen of Novah’s lyricism brings the track into the 2020s. “Give me your love with no filter / Tell me the truth with no filler / Give me a love that won’t change up,” she croons in the chorus. — K.D.
The Bonfyre, “No Sleep”
The Bonfyre has made her highly anticipated return with her cathartic single, “No Sleep.” The Massachusetts native poignantly opens up about her trials and tribulations along the way, dealing with numbing heartbreak and being the victim of domestic abuse. “My heart is mine to control, l and you don’t know what you’re looking for,” she sings. Putting the pain of her journey into music has reinvigorated Bonfyre creatively, and she’s got plenty more in store for the rest of 2025. — M.S.
Tiwa Savage, “You4Me”
On her new single, Tiwa Savage samples Tamia’s 1998 classic “So Into You” to craft a smooth, heartfelt love song about deep emotional and physical connection. She expresses complete devotion to a partner who stands out from everyone else, celebrating the security, stability and undeniable chemistry between them. “You4Me” is about feeling seen, and swept up in a love that’s equal parts passion and partnership. Tiwa’s smooth vocals and playful lyrics balance flirtation with sincerity, making this track feel sweet, sexy and real. — C.C.
Kaytranada isn’t the biggest fan of how audiences choose to enjoy live shows in the age of smartphones and social media. Over the weekend, the Montreal-based producer responded to a fan on X who apologized on behalf of “real fans” who dance at his shows as opposed to “standing still” in order to capture content […]
Morgan Wallen and Post Malone’s “I Ain’t Coming Back” debuts in the top 10. Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated May 3. Still hanging in the top 10 is “Beautiful Things.” Teddy Swims is at No. 9. Morgan and Post debut a new one at No. 8, while […]
A day before the kick-off of her anticipated Cowboy Carter and the Rodeo Chitlin’ Circuit Tour, Beyoncé gave the Beyhive a preview of the outings massive set. In a dramatic 16-second greyscale video titled “SHE COMING” the camera slowly pans from the darkness inside the concourse of Los Angeles’ SoFi Stadium into the light of […]
Most of Gen Z met Destin Conrad, 24, over a decade ago on Vine, where he shared hilarious clips that frequently intersected with music. In one classic clip, for instance, he freestyled “To the- to the- to, to the left!” over a lunch table beat.
Music has remained at the center of the Tampa native’s creative output in the years since, with his debut EP, Colorway, arriving in 2021. The year prior, he wrote several songs on Kehlani’s It Was Good Until It Wasn’t, setting the foundation for his slow-burning ascent in the R&B world. His ethereal mélange of hazy acoustic guitars, explicitly Black and queer lyrics and soulful, heartfelt vocal performance quickly spun early hits out of cuts like “In the Air,” which he recently performed as a surprise guest at the first Brooklyn show of FLO’s Access All Areas Tour.
Across a slew of post-Colorway EPs – including Satin (2022), Submissive (2023) and Submissive 2 (2024) – Conrad continued honing his sound, slowly crafting a singular lane in the contemporary R&B space through his incorporation of left-of-center subjects like the worlds of leather and BDSM. Those projects landed him supporting gigs on tours by alt-R&B stars Kehlani and Syd, as well as his own 2024 headlining tour.
Trending on Billboard
Over eight years since Vine disappeared, Destin has finally unleashed his debut studio album, Love on Digitial. Released on Friday (April 25) via Above Ground Entertainment and EMPIRE, Love on Digital trades on the futuristic percussion of turn-of-the-century R&B and disarmingly frank lyrics that explore the intricacies of navigating Black queer love in the digital age. Assisted by Lil Nas X, Kehlani, Cari, Teezo Touchdown and serpentwithfeet, Love on Digital is a stellar full-length project – and one that feels extra sweet for fans who have patiently waited for Conrad songs longer than two minutes. The new set is the culmination of all the things Conrad has learned in the years leading up to his formal debut.
“I’m still learning so many important things, but one of the main ones is that whatever I see for myself can be real,” he tells Billboard over a saucy Cava bowl. “There’s also a lot of different jobs and moving parts — making the music is literally just one part. Being onstage is another job, and then I gotta market myself too, there’s so many factors. Learning what I like most and what feels most natural to me has been fun.”
In a candid conversation with Billboard, Destin Conrad talks Love on Digital, performing with FLO, Black queer representation in R&B and defeating imposter syndrome.
How do you feel now that your debut album is finally out in the world?
Happy for it to be out. I’m also excited to move on. I’ve been trying to not make [the pressures of a debut album] real because it’s only real if you make it real. I’ve been reminding myself that I will keep making music after this; this isn’t the end-all be-all, even though it’s my debut. I’m going to grow and make better music.
Do you view Love on Digital as an introduction, a re-introduction or neither?
An introduction. I feel like people haven’t gotten to hear a full-length from me, and that’s been a common theme with my last couple projects. Everybody’s like, “All these songs are so short!” And I’m like, “Okay, well, I’m going to give y’all a bridge and you’re gonna know what a full song sounds like from me.” It also feels like I’m actually putting thought and intention behind a lot of things that we didn’t really do in the other projects for whatever reason. It feels like an album.
When did you officially begin and finish working on the album?
I recorded the first song [“Kissing in Public”] almost two years ago. I’ve had that one for the longest time; I made it in Tulum. I made a lot of the other songs in many different places: London, L.A., New York. I knew that I didn’t want to put “Kissing in Public” on Submissive, but I didn’t know it was going on my album. It didn’t fit [on Submissive], but it’s stood the test of time.
How would you characterize the sound of your debut? Would you say it builds on or moves away from sounds you’ve explored on your EPs?
I describe the sound as digital. It’s R&B through a different lens than what we view it in. Loud. Queer.
How and when did you land on the title?
I don’t know! And that’s the crazy part — I don’t remember [specifically] thinking about it. I called it Love on Digital because it’s a nod to the digital era of R&B. I feel like R&B used to be very instrument-heavy and then there was a shift where we got new software, and it became a different sound and style. Over time, [the title] gained a new definition and reason. It’s also me thinking about love from a long-distance standpoint and using the Internet to stay connected to people. Over the past year or two, the title has been in my ether.
What frustrates you most about navigating love in the digital age?
I hate being on the phone for hours talking on FaceTime. I really envy the people that can just sit and talk to their boo. That’s how I know I really like you – if I’m sitting on FaceTime with you. And even then, I don’t like it! I really enjoy being present and I love doing things with my time physically. One of my love languages is definitely physical touch. I need whoever my partner is to be there. I’m not equipped enough to do long-distance.
Have your feelings of imposter syndrome subsided now that you’ve made it to your debut album?
1000%. I still experience imposter syndrome, but not to that magnitude. Going on tour watered a lot of that down for me, seeing real people and real faces. [Those feelings] were there because I dropped Colorway during the pandemic, so I didn’t really get to do a full, traditional rollout.
After that, I toured Submissive, and I opened for Syd — that was my first time singing my songs anywhere. And then I opened for Kehlani, which was also really tight. But it’s a different feeling doing my own headlining shows. My fans have helped me navigate my imposter syndrome.
You were giving Main Pop Boy energy in the “Kissing in Public” video, hitting choreography and all. What was that video shoot like? Do you want to dance more in the future?
I definitely want to dance more! It was so fun shooting that video. [It was directed by] Zev York, who I’ve shot a couple of videos with, and my friend Kassidy Bright choreographed it, and she’s a joy to work with. I’m excited to keep pushing that and seeing what it looks like when we add movement to the visuals.
“Mr. E” is so witty. What was your songwriting process like for this album?
I wrote all of Colorway, and then I slowly started working with more writers. With [2022’s] Satin, it was me, my best friend Ambré, Jean Deaux, and one of my friends Astyn [Turr]. We went to Joshua Tree and made a good chunk of Satin in a week.
I’ve been working with a lot of different writers that are established in their field; I feel like that’s what’s different with this album. I worked with Starrah on “P.B.S.,” which was really different for me. Mack Keane also was a huge collaborator for this album. I wanted to challenge myself and push it in a different direction.
When you bring new cooks into the kitchen, how do you still keep the essence of Destin at the center?
I’m just not going to lie on the song. If it’s not something I genuinely resonate with, I’m not going to sing it.
Conceptually, you pull from a lot of really cool places, from leather and BDSM to the evolution of technology. Where do you get the confidence to create R&B through these lenses?
Fear is definitely still a thought; it’s not a non-factor to me. I definitely think about things all the time. I kind of just throw myself into s—t and see what sticks. I’m also very gay and that’s a factor. I feel like there’s not a lot of people like me in the R&B space, so I want to poke at people a little bit and not be mute or minimize myself – and do it in a way that’s still tasteful and authentic to me.
You and Lil Nas X reunited again on “P.B.S.” What does it mean to you to be able to connect with another young, black gay music star and have the work penetrate the mainstream?
I think what he’s doing is so bold that I wanted to bring it into my world a little bit. And he’s actually my friend! That was something I was very adamant about: working with people I’m actually cool with in real life and not just getting people on my album because they’re popping. I was like, “Who genuinely inspires me?” And [Lil Nas X] was definitely on that list. I sent him “P.B.S.” and he was like, “I’m going to do a verse tomorrow and send it.”
Who were some artists you felt a connection to growing up?
Brandy is at the top of my list when it comes to any form of inspiration in music. My mom loved Luther Vandross, and I grew up listening to a lot of him. Michael Jackson’s fearlessness. Stevie Wonder’s approach. I’m a melting pot of inspiration.
“Soft Side” is so intimate and Black. Talk to me about linking with serpentwithfeet for that one.
Serpent is also a huge inspiration. He’s somebody I’ve wanted to work with since I first heard his music. He’s a Cancer like me, and he’s so well-spoken and articulate. He asked me what my perspective was from my verse, and I feel like a lot of artists don’t really ask me what I was thinking when I made the song. “Soft Side” is definitely one of my favorites.
You popped out for FLO’s first Brooklyn show on their ‘Access All Areas’ tour earlier this week. How was that?
I love FLO! I’ve been a fan of them since they popped out. It’s so amazing to see them blossom and become such amazing performers. The last time I saw them was in D.C., I had a college show and they had a show the same night. I went to go pull up on them and it was a really small, intimate show. Going to see them play last night in front of thousands of people was so inspiring. They’re definitely at the forefront of the argument against R&B being dead, and I love that.
What does it feel like as a rising R&B artist to constantly hear people say that the genre is dead?
I never hear anybody say rap is dead! I just feel like people aren’t digging. They want it to come to them. Sometimes I just go on my Apple Music, and I literally just search for music. I feel like people don’t want to do that anymore. I feel like people just want it to be handed to them on a silver platter. I’m not going to lie, I like some artists, but I don’t love every song by them. I find what I do like and keep it pushing, it’s all subjective. But for you to say the whole genre is dead, that’s a stretch.
Can we expect a Love on Digital tour anytime soon?
Very soon! We’re actually working on it right now.
Concert film Usher: Rendezvous in Paris will be streamed exclusively on BET+. Jointly announced by BET+ and Sony Music Vision, the film’s streaming release begins on May 8. Explore Explore See latest videos, charts and news See latest videos, charts and news “I’m happy to be partnering with BET+ to bring the celebration of my […]
The Weeknd grabs sole possession of the third most No. 1s on Billboard’s Rhythmic Airplay chart as his current single, “Cry for Me,” reigns on the list dated April 26. As the new champ climbs from No. 3, The Weeknd claims his 15th Rhythmic Airplay leader, breaking from his tie with Chris Brown. He now […]
Nearly a decade after indie R&B tastemakers and college students across the country first swooned over her self-released EPs and early collaborations with Monte Booker and Smino, Ravyn Lenae has earned her first Billboard Hot 100 hit with “Love Me Not” (chart dated April 12).
Lenae, who signed to Atlantic Records in 2016, originally released the bouncy, soulful, rock-inflected song in early May 2024 as the lead single from her sophomore studio album, Bird’s Eye. Thanks to a wave of TikTok momentum — one that’s also benefitted Janet Jackson’s “Someone to Call My Lover,” a kind of foremother to “Love Me Not” — the single steadily grew throughout the late winter and early spring and now reaches a No. 70 on this week’s Hot 100 (dated April 26). The Dahi-produced track also became the landmark 25th production credit for the Grammy-winning hip-hop/R&B producer.
With “Love Me Not” securing Lenae her long-awaited breakout moment, the song’s success also previews what’s shaping up to be the biggest year of her career. In April, the Chicago-bred singer-songwriter bewitched both weekends of Coachella-goers, perfectly priming both in-person and virtual audiences for her forthcoming stint as an opener on Sabrina Carpenter’s Short n’ Sweet tour. She’ll also visit her hometown for Lollapallooza (July 31-Aug. 3), where she’ll continuing playing sets built around Bird’s Eye, which Billboard staff named the No. 3 Best R&B Album of 2024.
Trending on Billboard
“I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work,” she gushes to Billboard the day before her Coachella debut. “It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!”
In a conversation with Billboard, Ravyn Lenae talks her slow-burning success, drawing inspiration from Janet Jackson, gracing the Hot 100 for the first time with “Love Me Not,” and witnessing the power of TikTok firsthand.
Where were you when you found out “Love Me Not” hit the Hot 100?
I was at home watching TV, and my manager called me and told me that it was a real thing. I had a great day that day. I had great tacos, I called my mom, everything was going right. The weather was beautiful. I had a really emotional talk with Dahi and thanked him for being such an important person in my life and doing this with me and believing in me and challenging me.
Was there a specific moment in which you decided that you wanted to pursue music professionally?
I would say when I was in high school and I started putting music out on SoundCloud and I saw how much of a response I got. That made me feel like, “Oh, this is something that not just resonates with me, but people actually like this and they’re looking forward to the next thing that I do.” I think that gave me an inkling. Once Noname took me on tour [in 2017], that’s when I realized it was a possibility to do something I love every single day and be able to pay my bills too.
What was the inspiration behind “Love Me Not?”
That song was one of the first ones that we landed on for Bird’s Eye. I remember when Dahi played me the beat, I was like, “This is something I feel like I haven’t heard in such a long time.” For some reason, it reminded me of when I heard “Hey Ya!” [by OutKast] for the first time. That mix of soulfulness with pop sensibility that anybody could sing and dance to and feels like it could have came out in any era — that’s my favorite type of song.
Lyrically, I like to play with relationships and the push and pull of knowing you love somebody even though you know it can’t work. That really elementary approach to writing is one of my favorite things. I love when the lyrics feel a little sad, but the music feels upbeat, or even the inverse. [“Love Me Not”] has all the qualities of a really timeless song to me, so I knew that one had to be on [the album] and be the first [single].
Why did you decide to release “Love Me Not” alongside “Love Is Blind”?
“Love Me Not” was something that I really, really loved and I was excited for my fans to hear. But I also knew that it was a branch-out from the type of colors I dabbled in on [2022 album] Hypnos. I thought to support that, I should have something that felt like the most “Ravyn Lenae” song ever. “Love Is Blind” was a good pairing for people to see where I was going with [Bird’s Eye while] still rooted in my R&B bag, my sensuality and my yearning lyrics. I wanted people to understand where I was going, but also where I am and where I’ve been at the same time.
How did the how did the Rex Orange County remix come together? When did you know that you wanted to do a remix?
I knew I wanted a remix for the song a few months after I dropped it. I remember us talking about a feature on the song originally, so it was always in my head that I thought I heard another perspective on the song, especially a male perspective, almost like a duet type of feel. But I couldn’t think of who it was going to be, and I don’t like to decide things quickly.
My manager [John Bogaard] sugested Rex [Orange County], and I thought he was the perfect voice and perspective to add to the song and introduce it to a whole other audience.
The success of “Love Me Not” has been a real slow burn, not unlike your career in general. Are there times you wish everything would just click or are you content with the journey of it all?
I am constantly on a journey of balancing both of those extremes because it feels like two sides of my brain. One that’s like, “Get on the train!,” and the other part of me — like when I talk to my mom and my manager — [understands] that timing is everything. I have to trust that. I have to believe that. I have to stay patient and diligent and focused, and things will start to turn over for me. We’ve seen it over and over again.
I just saw Doechii [with whom she collaborated for 2022’s “Xtasy” remix] a few days ago in San Antonio. I hadn’t seen her since this major shift [in her career], so it’s been a while since I’ve been able to catch up with her. I was like, “Girl, when you won your Grammy, I started bawling!” I didn’t expect that [emotional response] to happen, but whenever I see those glimpses of hard work paying off, it reassures me that I’m on the right path. That’s what I’m holding on to right now; I’m trying not to get ahead of myself and stay right where I’m at and be happy about that.
I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work. It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!
What else do you have planned for “Love Me Not?” You’ve been showing fellow Bird’s Eye track “Genius” a lot of love on TikTok recently.
I hope that I’m able to keep getting “Love Me Not” in new ears. I want that song to keep growing and reach as many people as possible. “Genius” is another one that I think has really strong potential to reach those super-large audiences. I’m just gonna keep pushing, working, performing, meeting people and being a good person. Beyond that, I’m working on new music that I’m so excited about.
What was your experience on the artist side watching TikTok help blow “Love Me Not” up?
Before it happened, I would have really negative thoughts like, “Maybe that type of viral moment isn’t in the cards for me.” You’re making TikToks and you feel like [they’re] not reaching anybody and you’re just putting stuff out into the void.
This was an exercise of me stepping outside of my comfort zone in a good way. Seeing people discover me and this song and then dive into my whole discography has really [shown that TikTok is] such a beautiful tool. Even beyond me, just seeing how accessible it is for people’s lives to change overnight.
I can’t help but draw similarities between “Love Me Not” popping off right now and also Janet Jackson’s “Someone to Call My Lover” having a revival. What do you think it is about these songs that are pulling in listeners right now?
I literally asked myself this the other day. I’m like, “This is too much of a coincidence!” First of all, “Someone to Call My Lover” is one of my favorite songs, so when I saw that happening it really felt like a shift. Janet is one of my biggest inspirations; she’s been able to blend R&B, alternative, rock and pop in the most beautiful, seamless way. I aspire my career to be like that too. I think people are just open to a mishmash of sounds and don’t care really who it’s coming from. Even the fact that [TikTok users] mixed “Love Me Not” with [Solange’s] “Losing You,” there’s definitely a shift happening. I think people want that soulful pop back.
What can you tell us about the new music right now?
Tricking my listeners into liking things that they probably wouldn’t have liked otherwise is something I’m really into. I’m always finding new ways to push and find new colors in my voice, get a little uncomfortable and get a little more raw. Pulling back those layers is something that I try to do with each song and each album.
A version of this story appears in the April 19, 2025, issue of Billboard.
Who said girl groups are dead?
Though it’s been several years since an R&B girl group has made a significant splash in the States, British trio FLO cemented itself as the progeny of iconic girl groups past across an excellent hour-and-a-half set at the Brooklyn Paramount on Monday night (April 21). Marking the first of two New York stops on their Access All Areas Tour, the FLO girls also spent the night outlining their own origin story — with Emmy, Grammy and Tony-winning multihyphenate Cynthia Erivo narrating the setlist like a whimsical fairy godmother.
Before Stella, Jorja and Renée took the stage, rising R&B singer Chxrry put on a fiery one-woman show for her opening set. Owning the stage with just a mic stand, a few standard lighting cues and backing track, Chxrry delivered incredibly strong vocals as she played songs across her catalog. From “Just Like Me” to “Favorite Girl,” Chxrry’s set familiarized the crowd with her work while showing off her performance chops across a range of tempos. “Never Had This” proved the highlight of her set: By matching sultry floor choreography and Beyoncé-esque hairography to the seductive, brooding production, Chxrry captivated the venue all by herself. Before ceding the stage to FLO, Chxrry delivered her a winning rendition of her biggest hit yet, “Poppin Out (Mistakes).” (R&B singer Josh Levi opened Tuesday night’s show on April 22.)
After the house DJ spun a few R&B classics (SWV’s “Weak,” Fantasia’s “When I See U”), Erivo’s voice rang out across the venue prompting several concertgoers to gasp some variation of, “It’s Elphaba!” “Ladies and gentlemen/ And those who do not subscribe to either/ Generously granting us access to all areas/ Miss Jorja, Miss Renée, Miss Stella/ This is FLO,” Erivo announced, slightly remixing the “Intro” she voiced on the group’s Access All Areas LP, which arrived late last year (Nov. 15, 2024). From there the girls launched into the first act of their set, tearing through “AAA,” Access All Areas singles “Walk Like This” and “Check,” and their Missy Elliott-assisted bop “Fly Girl.”
Trending on Billboard
With a relatively bare stage that consisted mostly of a staired platform leading to three separate doorways for each member (and mic stands that disappeared and reappeard throughout the show), FLO delivered a notably physical stage show. In addition to their otherworldly live vocals — their arrangements frequently added modulations and they often improvised slinkier riffs and more ambitious belts than the ones already on the album — the girls rarely stood still, always covering ground on stage through a mixture of dance breaks and light choreography that rejected stasis while ensuring the stability they needed to hit some of those jaw-dropping notes. Amari Marshall, a renowned choreographer who served as dance co-captain on Beyoncé’s Renaissance World Tour, worked closely with the trio for the Access All Areas Tour. Between the girls’ crisp synchronization and smart individualization of certain parts, Marshall was clearly a very effective coach. For “Bending My Rules” — an early vocal highlight among many — the girls brought out some prop wine glasses to set the mood, before launching into a spunky run of tracks (“IWH2BMX,” “Nocturnal,” and “How Does It Feel?”) that flaunted their sassier side.
Before the trio launched into some sexy choreography for “Soft” (still unclear if Brooklyn passed the mute challenge!) and “On & On,” ascendant R&B crooner Destin Conrad surprised the Brooklyn Paramount with a strong performance of “In the Air.” Shortly after, Erivo once again returned as narrator, explicitly placing FLO in the lineage of Destiny’s Child, Sugababes, SWV and “countless other iconic baddies of the past” by once again lifting bits of the Access All Areas intro.
For their final act, FLO momentarily departed from Access All Areas — ultimately playing all sixteen tracks from the album’s standard edition — and performed a couple of hits from earlier in their catalog. While the “In My Bag” hook and music video choreographer drew a hearty crowd response, the spruced-up arrangement of breakout debut single “Cardboard Box” made most of the venue lose their minds. Nonetheless, the indisputable highlight of the night came in the form of “Losing You,” a soulful ballad the trio released as a standalone single in 2022. With an arrangement that seemed to reach a new vocal peak with each new line, “Losing You” allowed each member one final moment to show off the most impressive parts of their respective voices — from Renée’s gorgeous lower reigster to Stella’s limitless upper range and Jorja’s incredibly powerful chest voice. Always keeping the focus on Access All Areas, the girls properly closed the show with an encore of “I’m Just A Girl” that found them putting on their best rockstar performances — head-banging, guitar-miming and all.
If FLO has anything to say about it, girl groups are certainly alive and well — and R&B is too.