Historically, R&B and soul are two different genres with their own trademarks, artists, albums, and cultures. However, in the same way hip-hop and R&B are sometimes a packaged deal, the varying worlds align more often than not. Especially when R&B is a pillar for pop music, partially losing some of what distinguished it from other genres but, in turn, becoming a vehicle for genres like soul to Trojan Horse their way into the mainstream conversation. And our picks for the best R&B/soul songs of 2024 show there’s no shortage of good material coming from these legendary corners of music.

This feature was written by David Sosa, Sandra B. Olinger, and Steven Ward.

Aaron Frazer “Easy To Love”

Singer-songwriter Aaron Frazer is among the most recognizable figures in contemporary soul music, best known as one of the angelic voices behind Durand Jones & the Indications (where he also leads the drums). On Into The Blue, his new album released in June, Frazer expands upon the retro-soul he pioneered through Western-inspired production and sunny instrumentation. A time machine back to when songs dripped with soul and honeyed love, Aaron Frazer‘s “Easy To Love” is an irresistible earworm devoted to the ecstasy of a new love. One driven by an incessant backbeat and a melody that dazzles and whirls you with its spellbinding instrumental exchanges. Let Frazer’s dreamily, suave voice lead you by the hand through a sublimely funky and balmy favorite.

Adi Oasis feat. Danielle Ponder “Dumpalltheguns”

On the reimagination of “Dumpalltheguns,” Adi Oasis partners with the powerful voice of Danielle Ponder. Like Oasis, Ponder uses her art as a guiding light that seeks out pathways that will bring people closer together. Often illuminating overlooked and ugly truths about the treatment of Americans based on their race. Making her a fitting collaborator for Oasis on “Dumpalltheguns,” the pair come together to unite their voices toward earnest and urgent change.

The Jitwam remix of “Dumpalltheguns” transforms the track into a buoyant and bubbly funk piece. One that ups the resounding pulse of its bass and percussion with a hypnotic effect, adding another irresistible layer of soul to its already immensely suave melody.

Brittany Howard “I Don’t”

Like the light coming from a sunrise, former Alabama Shakes lead singer Brittany Howard continues to live a rewarding artistic second life with “I Don’t” off her latest solo album, What Now. Howard sings from a refreshingly optimistic point of view, recognizing the changing times and how everyone is too occupied in their day-to-day life to stop and appreciate what’s around them.

At first starting off with the serene sound of a keyboard, the crescendo of drums and a smooth guitar coming together creates pure euphoria, with Howard’s lower but calm voice contrasting the high-pitched backing vocals. But it’s the ending refrain where the song reaches its high point, with the repeated “I don’t” melody leading into the “All work and no play makes me a very sad one” line so perfectly it makes the rest of the song look as though it came together naturally and by the grace of some higher power.

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Cleo Sol “Fear When You Fly”

In the best ways possible, Cleo Sol’s brand of soul music is reminiscent of the late 90s-early 2000s movement marked by fellow singer-songwriters such as Erykah Badu and Bilal. On “Fear When You Fly,” she delivers another impressive and impassioned vocal performance that starts with the uplifting lyrics, “If you see me / Know that I’m not broken.”

At times a laid-back acoustic track and a single with a full-fledged band, Sol sings to her fledglings as a guiding voice, recognizing the setbacks through her life but not letting any of them bring down her spirit. Verse two, in particular, covers Sol’s full vocal range, with her singing from a soft register to gospel-esque shouts as impressive as ever. For an artist who’s dropped an album nearly every year since 2020, “Fear When You Fly” inspires hope that new music is on the way.

Dua Saleh “want”

Dua Saleh by Grant Spanier

Earlier this year, Dua Saleh shared a revelatory preview of their debut LP, I Should Call Them, with new single “want.” The album announcement was delivered via Instagram, followed by the electro-R&B track, and a black-white-glistening music video directed by Grant Spanier. Soundtracked by the breathy allure conjured in Saleh’s voice and the heady quake of beats that detonate around it, the film’s stark and stunning visuals uncover the tempting intoxication that keeps you craving an otherwise toxic lover.

Saleh described the single as “an anthem for those relationships that might not happen at the right time but feel so right that you go against your intuition. It’s about discovering self-worth, but still wanting to lean into that cheeky naughtiness.”

Fousheé “feels like home”

If there’s anything that the last two years have taught us about those who move between genres, there’s never enough Fousheé. And after a relatively quiet 2023, the Jamaican-American singer-songwriter returned against all preconceived notions of what she might do with her newest album, Pointy Heights. Named after land her grandfather purchased in Jamaica, Pointy Heights is Fousheé settling in sonic landscapes she thrives in, ranging from the alt-pop she became known for to reimaginings of reggae classics with vibrant fusions alt R&B and soul.

From the moment you hear the cinematic intro of Fousheé’s “feel like home,” you know you’re in for a special treat. The charming number arrived just days ahead of her new album, Pointy Heights, and without a doubt, it was one the best songs on the endearing collection. Like a crisp new record going for its first spin, “feel like home” exudes a sense of joy and comfort as Fousheé’s velvety vocals caress your soul. The track was produced in collaboration with BNYX, 1993 & Jean Baptiste.

Hiatus Kaiyote “Telescope”

With an admiration for all things cosmic, Melbourne’s Hiatus Kaiyote proves once again they are natural genre fusers on “Telescope.” As if leaving the atmosphere, the electronic drones set the tone for an ode to stargazing and soul/jazz, complete with references to Smokey Robinson and Sun Ra. The lyrics, purposefully simplistic yet made catchy thanks to singer Nai Palm’s dynamic vocals, let the production serve as the primary driving force.

From the bass pulses that make the space talk feel all the more immense to the nebulous drones that remain consistent throughout, “Telescope” uplifts soul music into the cosmos and shows how the genre can be pushed even further than originally thought. Even when Palm ponders, “Is it kush or outer space,” the apparent awe for artists of the past ensures they’re the sort of band who you want at the forefront of where music goes in the future.

Jungle “Let’s Go Back”

If there’s any band whose music makes you feel so free and full of life, it has to be Jungle. After their meteoric release, Volcano, in 2023, the London-based group followed in 2024 with the groovalicious track “Let’s Go Back.” Oozing with that feel-good neo-soul the band is known for — and like many of their tracks — you just can’t help but dance your ass off to this jam. With 70s dance vibes and Lydia Kitto’s silky vocals that give a warm and inviting feeling, it feels like you’re barefoot and gliding across a warm velvet dancefloor. This groove is pure joy and don’t even get me started on the video! We adore Will West.

Nilüfer Yanya “Just A Western”

Ahead of the release of her new album, My Method Actor, Nilüfer Yanya shared her latest single and music video, “Just a Western.” A resplendent song that soothes with every word she sings, it reminds of the same calming effects of Sade. The song has a beautifully melancholic tone. However, Yanya’s vocals provide that feeling of a warm embrace, making for quite a soothing listen. Expect to have this track on repeat because it just feels so good with every touch of the play button.

“The melody feels freeing to me,” shares Yanya, “but the lyrics are ‘there’s no way in, no way out’ and the concept is about facing your fate. I don’t know if I believe in fate but it feels real in the song.” 

Lava La Rue feat. Cuco “Better”

Amid an exciting period in West London artist Lava La Rue’s career, marked by an opening slot on Remi Wolf’s tour and the recent release of their debut album, STARFACE, their talents are on full display with “Better” featuring Cuco. Sporting a new persona reminiscent of Ziggy Stardust, the boundary pusher is once again showing an ability to weave genres together as if they were always meant to fuse, blending the vocal prowess of soul, the arrangements of ska, and the feel-good energy of a classic funk song. While La Rue primarily drives the song forward with their dynamic, layered vocals, Cuco manages to match them in an almost seamless transition between the two. But what distinguishes the track from the rest of the album is its unabashed optimism, reassuring multiple times, “It will not be this way forever / One day we’ll look back and smile.”

Mereba “Counterfeit”

All signs are pointing to singer and multi-hyphenate Mereba entering a new and exciting era with the announcement of her signing to Secretly Canadian and announcing her latest album, The Breeze Grew a Fire, out Valentine’s Day 2025. Having already made a constantly evolving career in R&B and continually standing out amid an always-growing sea of contemporaries, her latest single and video, “Counterfeit,” combines several elements from her catalog thus far, like soft electronic flourishes and melodies layered atop each other to create angelic choirs.

Since the album is focused mainly on Mereba reconnecting with her roots, whether it be in folk music or memories that still follow her inner child, “Counterfeit” is a meditative track looking in the past as her voice guides us through her mind. Through thick and thin, as well as some tongue-twisty yet satisfying rhymes like “Friends transactions, money-drenched passions,” she ends up with an uplifting chorus that’s true to who she is as an artist that bears their soul, reminding herself to not “let ’em counterfeit you.”

Omar Apollo “Done With You”

God Said No, Omar Apollo’s new album, is a many-sided collection of vivid testimonies on an R&B vessel flying over genre classifications in search of the revelation that is Omar Apollo, the trailblazer. Besides overcoming the sophomore slump and staking a claim for one of the most exciting singer-songwriters working today, Apollo has truly transformed as an artist above all else. His song “Done With You” proudly declares, “Sometimes love don’t make it right,” to lush arrangements burgeoning with life, much like the new life that awaits Omar. In addition to featuring the album’s catchiest chorus, the song is a shining example of Omar’s songwriting and genre prowess, backed by a sonic feast full of percussion, strings, guitar, and angelic vocals blowing through each instrument like a cool, sunny breeze.

Portraits Of Tracy “Found But Dilla” feat. Duckwrth

A year after the success of Portraits Of Tracy’s debut album Drive Home, the Baton Rouge singer/multi-instrumentalist dropped a deluxe version containing remixes and instrumentals from the six additional tracks. Amid the reimaginings was “Found But Dilla,” featuring the first artist Tracy has ever formally collaborated with in the form of LA rapper Duckwrth. As indicated by the title, the song is dedicated to late hip-hop producer extraordinaire J Dilla, whose distinct, sample-based sound is honored through the laid-back beat, which matches Tracy’s high-pitched vocal inflections.

Duckwrth’s verse slides onto the song like a form-fitting puzzle piece, pairing exceptionally well with the eclectic energy and overall sense of willingness to stretch how far an inspiration can go. The outro, where the vocals ooze into the production, exemplifies Tracy’s prowess as a producer. While most of the track is unmistakably a tribute to J Dilla’s production style, the last leg offers a tease of where Tracy is heading sonically, undoubtedly an exciting turn for the still-growing artist.

“I wanted to pay homage while still giving a bit of my style,” said Tracy. “It’s like a J. Dilla, Alternative R&B hybrid thang. Last, but definitely not least…Duckwrth’s verse is smooth like butter!!!”

Ravyn Lenae “Love Me Not”

As much as the song’s title sounds like a denial of romantic love or affection from others, Ravyn Lenae’s “Love Me Not” is love at its most desperate, with the flip-flopping of a relationship not enough to cut off contact from her partner. Kicking into gear with drums crisp in sound and vocals that could be coming out of a megaphone to drive home the sentiments, the song captures the relationship’s back-and-forth nature through a steady, danceable groove.

“Love Me Not” is at its best during the chorus, where Lenae puts it all out there without fear of coming off as contradictory. By simply sharing her emotions, Lenae shows how paradoxical love can be, perfectly handling the heavy lifting despite “Love Me Not” having a remix featuring Rex Orange County. If anything, that proves how Lenae often stands out when she’s a guest on others’ songs, whether it’s Steve Lacy or Kaytranada.

Saint Levant “Deira”

Saint Levant orchestrates a fateful homecoming on his new album DEIRA, an album that celebrates the indomitable voices and sounds of Palestine. Across eight mesmerizing tracks, he conjures up a poignant symbol of hope out of a childhood memory of his father’s hotel, using it to channel all his pain and mourning into an emphatically rousing declaration of faith. “Deira,” the album’s title-track showcases the sublime sounds of traditional instruments like the oud and darbuk, and coalesces around Shaabi Arab. Every entwining melody manifests as a spellbinding, propulsive, and touching expression of deep yearning. Then there’s the feature from the 15-year-old MC Abdul, who only recently got his family out of Gaza, his bars adding a profound weight to the song. The track is truly a beautifully emotional listen.

Sans Soucis “If I Let A White Man Cut My Hair”

Using hair as a vehicle for protecting one’s culture, “If I Let A White Man Cut My Hair,” the second single off London singer-songwriter Sans Soucis’ debut album Circumnavigating Georgia, showed off their ability to dissect one’s identity through clever lyricism. Over a delicious indie-soul chorus, the blunt title leaves little to the imagination over how sacred hair is to Soucis, but the lyrics are what get their stance across and stand as examples of resistance through preservation. Lines like “The eyes of a close friend / Comb my inner shivers” and “I almost handed over my peace / To the ones who try to damage my legacy” speak to the importance of protests big and small. Along with the unorthodox drums adding weight to every word Soucis sings, the production at large alternates from piano ballad to poetry jam over a smooth alt R&B sound.

Tyler, The Creator feat. Lola Young “Like Him”

Perhaps no other musician has matured more than Tyler, The Creator, who is in a class beyond any peer and continually impresses with each passing album. CHROMAKOPIA was no different, offering a cornucopia of sounds no other artist could have produced in their wildest dreams. With “Like Him,” Tyler shows how his worldviews have changed within the past decade, where “Answer” off Wolf was a love-hate declaration against his estranged father. “Like Him” is a different perspective, with Tyler admitting he’s “chasing a ghost.”

Aside from the heartbreaking songwriting, what sticks out the most about the song is the arrangement, which includes a Tyler piano solo and contributions from Thundercat on bass. Everything then comes together in the climax, led by a synth that captures Tyler at his most focused and vulnerable, exemplifying how far he’s come over the course of listeners knowing him.

Xiuhtezcatl “1992”

In contrast to the other rock-fueled songs on the list, activist/rapper Xiuhtezcatl looks to hip-hop and R&B for his introspective appreciation of his mom’s activist roots in “1992.” The central focus on “1992” juxtaposes the modern production, which distances itself from a typical trap beat without veering the song into all-out 90s homage through the potential utilization of boom bap or g-funk. What it does for Xiuhtezcatl’s intentions is show how he stays true to his style, all while continuing the work in environmental activism that began with his mom in 1992. On top of a chorus that’s bound to get stuck in your head, thanks to Xiuhtezcatl’s confident flow, it’s impossible not to stop and take in his family’s journey while bobbing your head.

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