Is 2020 the year that R&B goes mainstream again?
Now is the perfect time to redefine our definition of what’s popular— again
The 1990s: a time of unprecedented economic growth, questionable fashion choices, and the unstoppable reign of MTV. It was also a time of rapid expansion and evolution of the musical landscape as new genres like grunge and ska bursted onto the scene, and old genres like swing music experienced unexpected revivals. It was a wild time, and MTV served as the ultimate tool to bring this buffet of new options to the masses. If there was one genre that seemed destined to stick around after this new “golden age” of music, it was R&B, which often topped the charts during this decade.
After the reign of disco, soul and funk in the 1970s and the emergence of rap and hip-hop in the 1980s, R&B evolved during the ’90s into a fusion of the best elements of all of these genres, and the stage was set for R&B to share the spotlight with typical pop fare (read: white people music).
Brandy and Monica. Boyz II Men. Bryan McKnight. Toni Braxton. The list goes on and on.
These artists ruled the charts for years (hello, previous record for longest-running #1, Boyz II Men), but as the ’90s faded away into the bleached-blonde annals of history, R&B began to slip down the charts. Brandy and Monica made way for Britney and Christina, and the Billboard Hot 100 would never be the same. The simple truth is that R&B never went away; black listeners have always and will always return to it as a mainstay, but it certainly fell off the charts and out of the mainstream consciousness, which is simply a shame.
Today, that seems poised to change. As pop leans fully into EDM, catchy uptempo jams, and white rappers, black R&B artists are producing some of the best music in the game, proving that music and lyrics are still king, even if it’s not considered “radio friendly.” But a rising tide lifts all ships, and there just might be room on the radio for R&B again.
Justin Bieber, that troubled and messy wild child of pop, announced new music in late 2019, and to the surprise of many, this new material borrows heavily from R&B. He’s always dabbled in this kind of musical appropriation, but his new material is the most obvious shirking of the pop sound we expect from him, and his new album features cameos from R&B/hip-hop darlings Kehlani, Quavo and Travis Scott (along with white interlopers Post Malone and Lil Dicky). And while Bieber certainly doesn’t serve as the arbiter of R&B (or musical taste in general), his high-profile dabbling in the genre is at the very least noteworthy for exposing his fans, often young and influential in their tastemaking, to a genre they might generally be unfamiliar with. His performance on “SNL” in February read like a whitewashed, Walmart version of Drake’s “Hotline Bling,” taking cues from his brand of hip-hop-lite with a minimalistic crew of dancers and musicians stuck in a monochromatic green box of a stage. Whitewashed or not, Bieber is injecting some R&B back into pop.
Then there’s The Weeknd who, through and through an R&B artist even when he dabbles in pop, is a huge force in the industry today; his specific brand of music, previously relegated to the margins of chill R&B for horny stoners, has reached a level of massive popularity that’s certainly impressive, if not game-changing, having already racked up hundreds of millions of streams since late 2019. Recently joining the new class of R&B superstars is H.E.R., who not only ruled last year’s Grammy awards and racked up an impressive number of nominations again this year, but also received endorsements of support from musical icons Janet Jackson and Eryka Badu. If that’s not an indicator of changing tides, I’m not sure what is.
On top of all that, all signs seem to point toward a 2020 release date for new material from SZA, who made a huge splash with the release of “ctrl” in 2017, and Rihanna, whose downtempo “ANTI” was the least pop- and hip-hop-centric record she’s ever released. These two women are certainly mainstream enough, and they’re almost certainly gearing up to keep shaping the sound of popular music in 2020.
Collectively, these artists represent a shift in public taste and what’s considered hit-worthy in the industry. There’s still a lot to overcome on the journey to the top of the charts: We need the “mainstream” (aka white people and our predominantly white media) to get onboard if R&B has any hopes of expanding beyond the R&B charts and becoming popular again — or at least as popular as it used to be. This means radio stations, which have been conditioned to lean heavily on the catchiest certified Hot 100 hits, need to take some risks and start spinning some of these criminally underplayed jams and get listeners onboard with some more variety in the sound of their hits.
Let’s make 2020 the year that this happens. Are you onboard? Below, I’ve collected some recent standouts that would be worthy additions to your streaming catalog. These artists are killing the game, and any lack of recognition up until this point is a crime against great music.
H.E.R.
This list would be incomplete without current R&B darling H.E.R, whose “Hard Place” felt destined to catapult her to the top of the charts with its catchy hook and relatable lyrics. Sadly, even with an armful of Grammys, audiences haven’t shown up for H.E.R… yet. Greatness is on the horizon for her, and it’s only a matter of time. Just watch her recent Grammys performance or her NPR Tiny Desk Concert, and you’ll see why her star just keeps rising.
Kehlani
No surprise here: I’m a huge fan of Kehlani. Since her 2017 debut album “SweetSexySavage,” the rapidly-rising R&B star has been making waves and releasing bop after bop. Her material is often raw and unfiltered in all the best ways, tempered with a refreshingly honest take on love, life and everything in between. New material seems to be on the way, and “Toxic,” above (not a Britney Spears cover, for anyone thinking it might be) is a taste of what’s to come. Spoiler alert: She’s bringing more greatness.
Odie
Come for the vibe-y jams, stay for the soulful, raspy-smooth voice of Toronto-based Odie. Sense a theme here? It would appear that Canada is exporting talented R&B singers faster than the U.S. can produce generic white EDM artists. Odie’s first album arrived in 2018, and we might not have to wait long for more material; his latest single, “Slowly,” is already making waves. Keep an eye on this one.
Jhené Aiko
I’ve written before about Aiko, whose chill, vibe-y material is tragically overlooked. Her previous album, “Trip,” was an impressive ode to self-realization and experimentation, and her newest, “Chilombo,” continues the trend but adds a healthy dose of empowered sexuality. Look no further than “Pu$$y Fairy (OTW),” an unapologetic anthem about hypnotizing a man with her expert lovemaking.
Kiana Ledé
Out of all the artists on this list, Kiana Ledé seems like the frontrunner to nab a spot on the pop charts. Her music is a slick and soulful fusion of ’90s R&B sounds, heartfelt earnestness and self awareness. Case in point: recent single “Mad At Me,” which samples OutKast’s “So Fresh, So Clean” and channels a whole lot of confidence. She’s also got a killer set of pipes, as she’s made very clear during her live performances.
Desiire
If we’re talking about redefining the musical landscape, we’d be remiss to not mention Desiire, who, like Odie, is making a splash in Toronto and who’s sure to break into the U.S. scene soon. Queer artist Desiire takes the R&B crooner formula and flips it on its head by challenging stereotypes about masculinity all while crafting some of the best R&B jams you can find. You can thank me later.
FKA Twigs
If you haven’t already heard of FKA Twigs at this point, then you’re probably not paying attention (sorry, not sorry). The multi-talented dancer/singer/badass is a pioneer of sexy, artistic downtempo R&B, and “Magdalene” adds a religious twist that flies in the face of convention in all the right ways.
