The Best R&B of 2015

Modern R&B could very well be in the midst of a new, insanely fruitful Golden Age.

2015 was an intriguing year in R&B, if only because one of the genre's biggest stars crossed into the mainstream so quickly that he couldn't feel his face. Seriously, it was a year as eclectic as it was rich, as celebratory of the past as it was digging deep to find the future. When artists as classically indebted as Nigel Hall or Alabama Shakes can sit next to the innovative minds of Dâm-Funk or Rudimental, you know it's been a fun, if not breathtaking 12 months of music. Here, we try to nail down ten of the year's best offerings of a type of music that could very well be in the midst of a new, insanely fruitful Golden Age. -- Colin McGuire

Artist: The Weeknd

Album: Beauty Behind the Madness

Label: Republic


Display as: List

List Number: 10

Display Width: 200

The Weeknd
Beauty Behind the Madness

2015 was Abęl Tesfaye’s year, there’s no denying that. Beauty Behind the Madness, the Weeknd’s predictably moody second full-length record, produced four singles, became the first album since 1989 to spend three weeks at number one on Billboard’s top 200, and as of this writing, sold more than 700,000 copies in the US. Leading the pack was “Can’t Feel My Face”, perhaps the year’s most ubiquitous smash that continues to hold up, no matter how much you want it to be played out. Opener “Real Life” reminds you why the Weeknd broke through in the first place -- on top of a grandiosely macabre backbone, Tesfaye’s endearingly silky voice fits in as well today as it would have 20 years ago, when people like Tony Rich and Craig David had hits. Plus, the guy earns points for making Ed Sheeran sound pissed off on “Dark Times”. It should be fun to see what’s on the docket for record number three. With an album like Beauty Behind the Madness behind him, and his star shining brighter than he probably ever hoped, how sad can the Weeknd stay? In the grand scheme, this set might be the one we ultimately end up referring to as the Last One I Liked. And if that ends up being the case, it’s a great way to say goodbye.

Artist: Nathaniel Rateliff & the Night Sweats

Album: Nathaniel Rateliff & the Night Sweats

Label: Stax


Display as: List

List Number: 9

Display Width: 200

Nathaniel Rateliff & the Night Sweats
Nathaniel Rateliff & the Night Sweats

Nathaniel Rateliff’s first record with the Night Sweats was also his first record on Stax, the legendary Memphis imprint that gave us everybody from Otis Redding to Isaac Hayes. The guy wears that stamp of approval well on this fiery 11-song set that keeps the prestige of yesteryear alive. A song like “Wasting Time” is a shot of traditional southern soul, complete with a requisite twang that only furthers the effect of the groove’s lazy swing. Meanwhile, “S.O.B.” brings the traditional gospel arm of Stax up to date, fully equipped with handclaps and humming backing vocals. When it finally boils over into the type of blues-rock that Bo Diddley perfected and Rateliff demands “Son of a bitch, get me a drink,” you’re almost scared to see what happens if he never ends up quenching his thirst. It’s the sound of a guy who has knocked around the music scene for years and is sick of waiting for a break. With Nathaniel Rateliff & the Night Sweats, he has to wait no more.

Artist: Jill Scott

Album: Woman

Label: Atlantic


Display as: List

List Number: 8

Display Width: 200

Jill Scott

It might take a while to warm up to, but once Jill Scott's Woman creeps up on you, it never leaves. Clearly in a transitional phase personally, the record didn't necessarily neglect the ethos that helped gain her a loyal and abundant following -- "You Don't Know" questions true hurt while "Fool's Gold" illustrates how regretful the singer is for trusting in a former lover -- but it also shed some light on a couple new issues as well, expanding her introspection even further within the very art she creates. Just think: when have you ever heard Jilly from Philly sing something like "I been doing my chores" to open an album, like she does here on "Prepared", perhaps the set's most revealing track. And for those who don't like this new(ish) work-in-progress Jill Scott, there's always "Closure", which kicks up the funk, turns on the confidence and assures all listeners (in a hilarious manner, albeit) that there's still people in this world she may never fully forgive. Right or wrong, it amounts to one of the best songs in Scott's career, and more than 15 years in, that's saying something.

Artist: The Internet

Album: Ego Death

Label: Odd Future/Columbia


Display as: List

List Number: 7

Display Width: 200

The Internet
Ego Death

For album number three, The Internet took its winning streak to new heights. Ego Death, mostly recorded in leader Syd tha Kyd’s basement in less than a month, is everything you’d hope an Internet record would be: Woozier than a fever dream yet more pointed than a Taylor Swift lyric sheet. The fantastic centerpiece, “Just Sayin/I Tried”, is nearly seven minutes of refreshingly current soul that sticks to flashes of neo-infused grooves best heard nearly 20 years ago from someone like Erykah Badu. Plus, the way Syd repeats “I don’t love you no more” is the sonic equivalent of a psychopathic killer staring you in the eye. Cold-blooded. Inevitable. Devoid of all remorse. Add in a killer Janelle Monae collaboration in “Gabby” -- along with a slew of poignant, unforgettable lines -- and what you have is one of the strongest R&B records of the year.

Artist: Lianne La Havas

Album: Blood

Label: Nonesuch


Display as: List

List Number: 6

Display Width: 200

Lianne La Havas

If Is Your Love Big Enough? merely introduced Lianne La Havas to the world, then Blood is an announcement of arrival. The production is more sleek, the grooves are more slinky, and that voice is more strong than even she thought it could probably be. Songs like “Green and Gold” and “Tokyo” pull form her newfound friendship with Prince with their super-heavy bass lines and undeniable atmosphere. “What You Don’t Do” is anthemic in nature, a singalong that’s heavy on piano and contemporary doo-wop to the core. What makes La Havas so irresistible, however, is her chameleon-like ability to thrive in multiple settings. “Good Goodbye” is as coffee-shop-ready as anything on her first album while “Wonderful” is spooky yet heartbreaking. Blood is a discovery of self, a tangible step toward a maturity that Lianne La Havas needed in order to evolve into something more lasting, something more interesting. Well, let the record show that evolve, she did.

Next Page
PM Picks
Pop Ten

© 1999-2020 All rights reserved.
Popmatters is wholly independently owned and operated.