Longtime R&B singer/songwriter Durand Bernarr kicks off a fresh chapter with his new single “Wild Ride,” featuring James Fauntleroy. Arriving after his GRAMMY win for Best Progressive R&B Album, the track signals artistic evolution, blending Bernarr’s expressive vocals with Fauntleroy’s polished songwriting and production. Anchored in themes of clarity and emotional presence, “Wild Ride” explores fully embracing life’s moments, delivering a smooth yet introspective groove that highlights both artists’ creative chemistry and forward-thinking R&B sound.

Keri Hilson makes a long-awaited and deeply personal return with We Need to Talk: Redemption, the final chapter of her trilogy released via Create Music Group. Marking her first full project since No Boys Allowed, the album completes a 20-track journey through love, conflict, and growth. Featuring production from Polow da Don, standout moments like “Who” and “Thankful” highlight Hilson’s emotional depth, closing a powerful era centered on healing, resilience, and self-reflection.

Coco Jones steps confidently into a bold new era with her vibrant video for “LUVAGIRL,” an uptempo release via Def Jam Recordings. Produced by Shae Jacobs, the track blends silky vocals with playful trumpet riffs, thunderous drums, and regal brass, channeling early 2000s R&B nostalgia. Following her standout performance at Super Bowl LX, Jones delivers a visually striking, emotionally fearless anthem that captures romance, growth, and self-assured energy in her first release of 2026.

Jack Harlow returns with his fourth album Monica, a project that marks a total departure from the Kentucky-bred rapper’s usual blend of witty bars, introspection, and playful bravado. Best known for rap hits like “Whats Poppin,” “First Class,” and “Loving on Me,” here we find Harlow shifting gears completely for R&B, while aiming for a more vulnerable and emotionally transparent approach centered on past (and present?) relationships. And while the stylistic pivot is ambitious, it has also drawn criticism, with some listeners and critics questioning both its authenticity and creative direction. At just nine tracks, Monica plays like a concise but uneven experiment that often feels underdeveloped as well. A recurring issue is its lack of depth (both lyrically and emotionally) as many moments come across as forced rather than genuine. The production, though smooth and easy to digest, leans toward safe, ambient grooves that feel more like background music for the local mall than fully realized compositions, lacking the dynamism needed to elevate the project beyond surface-level listening. Tracks like “Lonesome,” “My Winter,” and “Move Along” show flashes of relatability, touching on themes of heartbreak, betrayal, and growth, but they ultimately blur together due to repetitive execution. The opening track on Monica (a title that Harlow himself said recently wasn't necessarily a real person as opposed to a name he 'loved' simply due to its sound), “Trade Places,” offers a polished, groove-driven sound, yet feels overly calculated in its attempt to channel neo-soul influences. The track “All My Friends” leans on a corny theme of falling in love too deeply, paired with a melodic yet unruffled hook that should have been left on the cutting room floor. Meanwhile, songs like “Say Hello” and “Prague” hint at greater range, but aren’t strong enough to carry the album’s overall weight. In the end, Monica is an easy listen that struggles to leave a lasting impression, falling short in originality, variety, and the emotional authenticity it aims to deliver. Standout Tracks: "Trade Places", "Say Hello", "Living Alone"  Rating: 5/10 - Simon P Williams