Needless to say, 2025 was an eventful year. Thankfully, many R&B artists rose to the occasion with music to get us through each day.
Before we dive into our top 25 R&B albums, we would be remiss if we didn’t acknowledge some of the many artists who kept it short but impactful with standout EPs: Alex Isley’s WHEN, Kwn’s With All Due Respect, Leon Thomas’ Pholks, Leven Kali’s LK99: The Prelude, Mario’s Mood Swings, Melanie Fiona’s Say Yes, Naomi Sharon’s The Only Love We Know, Sasha Keable’s Act Right and Tamar Braxton’s Heartbreak Retrograde, to name a few.
Below, the Rated R&B team highlights the 25 best R&B albums of 2025.
25. Mariah The Scientist, Hearts Sold Separately
Mariah the Scientist shines on her fourth LP, Hearts Sold Separately, with improved songwriting and enhanced production. On tracks like “1000 Ways to Die,” the yearning songstress speaks on an idealized love that constantly evades her. There’s a brutal honesty in her lyrics that makes heartbreak almost comforting; her ability to synthesize tough emotions into realization carries the entire album. Paired with thumping 808s and electrifying synths, the “Spread Thin” singer expertly emotes her pain throughout this short but sweet effort. Many may come for the drama, but most will stay for the bountiful potential and artistry. — EDWARD DAVE
24. Q Parker, Evolution of Romance: Volume One
Q Parker, the self-proclaimed Romance Dealer, is on a mission to restore that feeling with his second solo album, Evolution of Romance. His first heroic feat was the spine-tingling “Beg,” where he pleads not just for moments of forgiveness but to keep her by his side. Beyond his first top 10 solo hit, Parker presents himself as a consummate gentleman attuned to love languages. The blush-inducing “Put It On” covers words of affirmation with head-to-toe praise. “Take It Off” embraces physical touch, perhaps even nicking runs in his woman’s stockings just to admire every curve of her body. He also earns high marks for acts of service on “Lightwork,” easing his woman’s stress with small, thoughtful gestures that help her fully unwind. With more Evolution of Romance volumes promised, Q Parker is set to achieve his goal of cementing his reputation as a name synonymous with romance beyond his contributions as a former 112 member. — ANTWANE FOLK
23. Summer Walker, Finally Over It
Summer Walker has been Over It for the last six years, but her third album declares that she’s finally ready to chart a new path. Compartmentalized into two discs, Finally Over It, the bookend to her album trilogy, maps the duality of her psyche. The first half contemplates the fragile side of love where cracks begin to show. She calls “1-800 Heartbreak” a standout that features Anderson .Paak, to pour it all on the line before she ventures into the second half with a sharper sense of resolve. It’s refreshing that she used this final album in the trilogy to push her artistic boundaries without losing her musical identity. Look no further than the guitar-laden “FMT,” which is an acronym for “f–ck my type.” It’s a declaration that she’s done with preconceived notions when it comes to love. Although the album is packed with features — 13 acts join her — Walker always commands the spotlight. — E.D.
22. Khamari, To Dry A Tear
On To Dry A Tear, Khamari channels the soulful DNA of D’Angelo and Lauryn Hill to anchor his own vision. The result is a project that feels both nostalgic and entirely fresh. Khamari’s songwriting remains his strongsuit as he confronts raw subjects like grief, addiction, and longing with a directness that draws listeners into his world. The album is a kaleidoscope of rock, blues, and folk, creating a richly textured project that further distinguishes him in a crowded field of alternative R&B artists. — E.D.
21. The Amours, Girls Will Be Girls
After growing through personal transformation on their Changes EP (2024), R&B sister duo The Amours’ turn outward on their debut album, championing sisterhood that goes beyond blood. It’s why the cover art shows them together, surrounded by some of their closest friends. Girls Will Be Girls creates space for women to have candid conversations about love without judgment. Whether singing about crossing that line with a male friend (“Bro”) or trying to rekindle an old flame (“Prove”), the album is a safe space to air it all out. Best of all is “Clarity,” an emotionally resonant ballad that begs for transparency when communication feels hazy. For the purists claiming the genre is lacking substance: here is the pulse. — A.F.
20. Halle, Love? or Something Like It
Sometimes you don’t see the full picture until you take a few steps back. Halle’s debut solo album, Love? or Something Like It, chronicles the rise and demise of a relationship. The album’s first half captures the thrill of a new romance. Her confidence shines on the GloRilla-assisted “Know About Me,” where she oscillates between celestial falsetto and a more melodic flow over a booming beat. On “Heaven,” she likens intimate moments with her man to an out-of-body experience. When the euphoria settles, she’s left wondering if it was a real connection or a lucid dream. In the aftermath, she rediscovers herself. — KEITHAN SAMUELS
19. Chase Shakur, Wonderlove
After processing a toxic relationship and its demise across two moody EPs, Chase Shakur finds his antidote with his debut LP, Wonderlove. The album saunters through love’s brighter side with the same vulnerability that won over fans on 2022’s It’ll Be Fine and It’s Not You, It’s Me (2023). “Limerence,” which samples Jodeci’s “My Heart Belongs To U,” is as addictive as the obsession he has over a romantic interest. Beyond the ‘90s R&B samples — “Luv in Da 6” (Mary J. Blige’s “Share My World”) and “Want U” (Kut Klose’s “Surrender”) — Wonderlove hears Shakur experimenting more with different sounds. “Sex N Sade,” a slow-burning bedroom jam, incorporates jazz horns, while the party-ready “Undercover Angel” sounds like it was made for skate night at Atlanta’s Cascade. With Wonderlove, he told Rated R&B: “I got to be a hundred percent at all times, authentic to what I like and try some new shit at the same time.” It’s safe to say it’s working out for him. – K.S.
18. Josh Levi, Hydraulic
Josh Levi’s debut album comes nearly 12 years after he auditioned for X-Factor USA. “I want to be a huge star,” a then-14-year-old Levi said on camera. With Hydraulic, the Houston native applies the pressure to the R&B-pop lane he’s been cruising in, namely since his 2020 EP Disc One. Hydraulic is a fluid collection of thumping, silky, futuristic R&B-pop that draws inspiration from the early aughts with a modern polish. The album bounces through the highs and pressure points of love and life. “I’ve been through most of the motions,” he proclaims on the booming opener, “Rodeo.” From there, he goes down a winding path of one-sided love (“Empty”) and the grip it holds when it’s no longer (“The Room”). Bangers like the FLO-assisted bop “Crash Out” and “Feel The Ba$$” featuring BEAM were calibrated to get bodies dancing. As the album comes to a close, Levi shows a more vulnerable side with songs about emotional fatigue (“Burnt Out”) and the mental impact of heartbreak (“I Can’t Go Outside”). – K.S.
17. Lady Wray, Cover Girl
After taking time to heal on 2022’s Piece of Me, Lady Wray firmly stands in confidence with Cover Girl. On the opener, “My Best Step,” Wray champions her resilience, singing, “My next step is my best step.” Songs like the dance floor-ready “You’re Gonna Win” and piano-laden “Higher” reaffirm her spirit of empowerment. Regarding Cover Girl, Wray shared, “Now I’m able to sit back and be a real boss. I got my career, my motherhood, and my marriage by the horns. I’ve grown into this more self-aware and beautiful flower for Cover Girl.” — K.S.
16. Mariah Carey, Here For It All
Though famed, Mariah Carey sometimes feels defeated, but her survivor’s spirit defines Here For It All, her first independent release and follow-up to 2018’s Caution. Her fearlessness shines on the anthemic ballad “Nothing Is Impossible,” while she seeks spiritual nourishment on “Jesus I Do” featuring The Clark Sisters. Don’t get it twisted: Carey isn’t letting any ordeal or imbecility slide. On the lustrous “MI,” she proves no one is bigger than the program, and she expeditiously exits bad romance on “Confetti & Champagne.” Much like Nene Leakes disrupted the “white refrigerator” status quo, Carey’s amusing finger-wagging on “I Won’t Allow It” proves she truly was Here For It All. — A.F.
15. JayDon, Me My Songs & I
On JayDon’s debut mixtape, Me My Songs & I, the 18-year-old tells a coming-of-age story that dives into the thrill and ephemerality of young love. Opening with “Lullaby,” a dreamy ballad written by Felisha King-Harvey of Cherish, JayDon relishes closeness with a love interest. But the romance quickly turns into a nightmare. The acoustic-laden “Cavier” serves as a reckoning for his shortcomings and a plea for forgiveness. The Ne-Yo-coded “I’ll Be Good” promises changed behavior, though he realizes that it may be too late. He lets his heart bleed on “Separated,” a bittersweet ballad that sees the end of a relationship. Eventually, his gloom sees the sunshine with uptempo bangers produced by Blaq Tuxedo (”Boujee Baby,” “The Way You Move”). If Me My Songs & I is an indication of a full-length album, then the future looks bright for the budding R&B star. — K.S.
14. Coco Jones, Why Not More?
“I’m very inspired to do more,” Coco Jones told Rated R&B in a 2024 interview. Her debut album, Why Not More?, holds true to that vision. She’s already proven that she can make slow jams that purists adore; “Other Side of Love” and “By Myself” are prime examples of Jones’ vocal prowess. But Why Not More? effectively keeps Jones out of a box she doesn’t want to be trapped in. “Taste” transforms Britney Spears’ pop smash “Toxic” to create a record that stands entirely on its own, while the title track takes a trip to Jamaica, where YG Marley joins her on the reggae-tinged record. Why Not More? is an ambitious statement sure to further cement her name in mainstream R&B conversations. — E.D.
13. Destin Conrad, Love On Digital
Destin Conrad has spent the last few years developing his sound through four stellar EPs. On his debut album, Love On Digital, the Tampa-born singer recalls the slick, futuristic sounds of 2000s R&B as he surfs the dating scene from a Black queer perspective. “Kissing In Public,” a flirty, pop-ridden groove, rewinds to the early aughts with its Neptunes-coded production. Conrad introduces his masculine alter ego in “Mr. E,” a suave play on duality. Several queer artists join Conrad along the way to help drive the album’s sound. He taps Kehlani (“Bad Bitches”), serpentwithfeet (“Soft Side”) and Lil Nas X (“P.B.S.”) as featured guests, while Ambré, kwn and Sasha Keable lend their pen. Love On Digital proves that Conrad isn’t the one to be confined in boxes. If you need further convincing, also check out his progressive jazz project, wHIMSY, which dropped four months after this Grammy-nominated debut. – K.S.
12. Xavier Omär, HunnyMoon Mountain
“I am miserable with you, baby,” Xavier Omär confesses on “Miserable,” the opener of HunnyMoon Mountain, his first album in five years. It’s a jarring admission that sets the tone for the project, which centers on trekking through a rocky patch in a relationship. The soul-rooted “Little Mistakes,” featuring Divine Lightbody, corrects minor slip-ups before they avalanche into something ruinous, while “The One I Fell For” gives a double-take at a lover who no longer feels familiar. Most notably, there’s “State Of The Will,” a 2000s-flavored jam that practically begs for a music video of Omär singing his heart out in the rain. By the time he reaches the Jai’Len Josey-assisted “Painting The Stars,” the disorientation clears. Omär’s HunnyMoon Mountain reinforces the idea that anything worth having is worth fighting for. As he noted, “It’s a testament to the struggle for connection, even when surrender seems like the easier path.” — A.F.
11. Jane Handcock, It’s Me, Not You
Jane Handcock, the first lady of Snoop Dogg’s Death Row Records, said her second album is about “owning every facet of who I am.” The Bay Area native does this whether it’s in devotional anthems like “Use Me” or the pleading “Sorry,” where she seeks a fresh start with an ex. Handcock links with Anderson .Paak for the disco-funk jam “Stare At Me,” which captures the intensity of mutual attraction. When Handcock isn’t singing about romantic themes like sneaky links (“Stingy”) or a gripping toxic love (”Can’t Let Go”), she’s doing the self-work needed to be a more accountable, realized version of herself. — K.S.
10. Jon Batiste, Big Money
Jon Batiste has a knack for making statement albums. His 2021 breakout, We Are, which won the Grammy for Album of the Year, honored his Southern roots and Black music. World Music Radio (2023) celebrated the global impact of song. He explained that his ninth album, Big Money, is a thesis on “humanity, capitalism, Americana, the inner child, and the irony of faith.” The foot-stomping, handclapping title track is a cautionary tale of things money can’t buy, while “Petrichor” rings the alarm for the planet’s ecological crisis. Amid everything, Batiste keeps love at the heart of the album. The Andra Day-assisted “Lean On My Love” is a stirring duet about showing up for those you care about. “Do It All Again” is a tender ballad about a love worth repeating. He ends with “Angels,” a divine reggae-leaning groove that speaks to his optimistic spirit: “The world needs an angel today,” he sings. With Big Money, Batiste evokes a sense of joy when times feel overwhelming, while remaining tethered to the realities of the world. — K.S.
9. Isaia Huron, Concubania
South Carolina native Isaia Huron’s debut album, CONCUBANIA, is a conceptual one. The self-written and produced set presents a fictional world that tells a thrilling story about a guy who falls in love with a sex worker until it all dissipates. The cinematic album is divided into three acts that capture the rise, tension and fall. “See Right Through Me,” a soulful duet with Kehlani, the album’s sole feature, cements that the lust has solidified into love — or is it? On the introspective second act, Huron questions the longevity of their bond on “Unsure” and grapples with his own choices on the delicate “HOML.” By the final act, he tries filling the void with more lustful adventures, as heard on “Thotful” and “List Crawler.” Even though CONCUBANIA isn’t based on a true story, it surely is an entertaining one. — K.S.
8. Mereba, The Breeze Grew a Fire
Six years following her debut album, The Jungle Is The Only Way Out, a meditation on braving life’s storms, Mereba has returned with its follow-up. Created with longtime collaborator Sam Hoffman, The Breeze Grew A Fire is a lush set of songs that reflect the power of community and how it can ignite us to rediscover parts of ourselves. Much of the album focuses on showing up for others with an open heart. “If you ever needed / I’ll be there for you,” she sings on the hypnotic “Ever Needed,” and reaffirms it on “Phone Me.” Mereba mentioned that becoming a mother has reshaped her outlook on life. “Out of the Blue” is a whispery lullaby for her son, while “Starlight (my baby)” is a tender, full-on ode. If you’re ever feeling in disarray, The Breeze Grew a Fire offers a sanctuary of stillness and reassurance. – K.S.
7. Durand Jones & The Indications, Flowers
Progressive soul band Durand Jones & The Indications, consisting of Durand Jones, Aaron Frazier, and Blake Rhein, have known each other since their days at the University of Indiana in the early 2010s. Flowers, their follow-up to 2019’s Private Space, feels like a homecoming. It’s an album that celebrates their growth, both individually and collectively. If Private Space was a Saturday night escape, Flowers is Sunday brunch — with mimosas, of course. It’s laidback but by no means a sleeper. The petal-smooth “Been So Long” captures that feeling of reacquaintance after time away and the nostalgia that comes with it. “Lovers’ Holiday” drifts into a sweet escape with a romantic partner, while “Really Wanna Be With You” is a desperate plea to make them stay. As Frazer pointed out, “Flowers are beautiful on their own, but when you gather them together, they take on their own unique beauty.” Flowers is the sound of that collective beauty in full bloom. — K.S.
6. Terrace Marin & Kenyon Dixon, Come As You Are
Multi-instrumentalist Terrace Martin has been on an exciting run with R&B artists, especially this decade. Having released jazzy collab albums with James Fauntleroy, Alex Isley and Gallant, Martin’s momentum continues with Come As You Are with Kenyon Dixon. It’s an invitation for listeners to fully immerse themselves in Martin and Dixon’s musical realm without hesitation. The experimental project is refreshingly ambitious without coming across as forced or overly optimized. The two LA natives lean on the musical styles that informed their upbringing. Beyond its jazz influences, Come As You Are is a stunning melange of R&B, soul, hip-hop and psychedelia. It’s one of those albums where you press play and let the music carry you. — K.S.
5. Givēon, Beloved
On his sophomore LP, Beloved, Givēon soars to new heights with eclectic production paired with his signature crooner voice. The singer deftly glides through somber machinations of the heart with an innate sense of confidence. Standout track “Twenties” showcases Givēon’s ability to craft ear-candy anthems that are as addictive as they are heartbreaking. Elsewhere, the skillful tenor switches up the tempo on “Mud,” opting for a soulful, retro-funk inspiration. Those looking for a record to reminisce about confusing love over a stiff drink should look no further than this effort. — E.D.
4. Eric Benét, The Co-Star
Eric Benét’s duets album, The Co-Star, plays like a set of cinematic vignettes, with Benét cast opposite a different leading woman on each track. The ‘premiere’ episode belongs to “Me & Mine” with Melanie Fiona, a gushing number about a love that’s as strong as Fort Knox. The drama escalates in “Gaslight,” where Ari Lennox and Benét trade verses like on-again, off-again partners. “I won’t be your side piece, this ain’t no mac and cheese,” Lennox asserts. Just when the love seems to be drifting away (“Remember Love” with Alex Isley), the Keri Hilson-assisted “Can’t Wait” cherishes a night on the town with a significant lover. Beyond the romance, Benét calls on Judith Hill to celebrate “Southern Pride,” while Jordin Sparks and Autumn Paige join him for the self-acceptance anthem “Change.” – A.F.
3. KIRBY, Miss Black America
Part of KIRBY’s mission is acknowledging her ancestors in everything she does. Miss Black America, short for Mississippi Black America, is a heartfelt love letter to her home state and the rural South. The 12-track project is rich in tradition, culture, family and history. “The Man,” steeped in the blues of the Mississippi Delta, is an indictment of the American dream, questioning who it truly serves. She uses the song to tell the story of her hardworking father, while probing the oppressive systems that ultimately hold folks back. The autobiographical “Bettadaze” chronicles her grind from working retail to living out her dreams. Backed by the Tennessee Mass Choir, “Reparations” is a soulful look at her lineage and the sacrifices made that deserve some sort of equity. André 3000 once said in 1995, “The South got something to say.” With Miss Black America, KIRBY makes her voice loud and clear. — K.S.
2. Ledisi, The Crown
“The Crown is a metaphor for the calling. It’s heavy, but I love it. I’m chosen and I’m OK with that,” Ledisi told Rated R&B. The New Orleans native continues to fulfill that purpose on her 12th album with exquisite soul and blues for lovers and yearners alike. “Daydreaming” feels like morning-after cuddles, where cosmic metaphors best describe the night before. Time blurs on “7 Days of Weak,” a forlorn ballad where the days seem to run together. Even in moments of despair, Ledisi takes time to praise those who came before her. “BLKWMN” is a jazz-piano ballad that celebrates the resilience of Black women — the ones who came before her, the ones who stand with her today and the ones who will come after her. Ledisi’s powerhouse vocals soar on “Making A Way,” a declarative disco-house cut centered on faith in God, who dispels darkness so His joy can set us free. If The Crown were displayed in a museum, it would be the luminous piece that pulls every eye toward the glass. – A.F.
1. Durand Bernarr, BLOOM
At its core, Durand Bernarr’s BLOOM is a love album grounded in nurturing friendships and self-acceptance. He explained, “This album is about growth—discovering love beyond romance.” A sprawling, 15-track collection bolstered by virtuosic vocals, Stax-style horns and deep-pocket drum grooves, the LP feels like a natural synthesis of the soul, house and funk stylings he has dabbled with throughout his career. While his previous album, Wanderlust, paid homage to Kelis’ Wanderland (2001), Bernarr leaned on icons like Luther Vandross, Maxwell and Missy Elliott as musical guidance for BLOOM.
Opening with “Generous,” a slick and punchy groove produced by Louis York, Bernarr wears his heart on his sleeve as he opens himself to giving and receiving love. “I won’t become what I’ve been through,” he asserts, a line that serves as a personal mantra and a promise to those he cares about. In a way, it speaks to the self-accountability required to maintain healthy connections by ensuring that past baggage doesn’t clutter his garden. The album is anchored by the standout “Overqualified,” which captures the frustration of knowing your worth but feeling overlooked. In essence, it looks at how excellence can sometimes be a lonely road. But he patiently assures himself, “Gotta sit tight till the time is right.”
What sets Bernarr apart from his contemporaries is his natural ability to allow his personality to shine through his music; it’s why he’s affectionately known as “your favorite cousin from your daddy’s side.” He has mastered a way of incorporating humor that doesn’t feel forced but rather disarming. His witty quips and banter are sprinkled throughout the album, best displayed in “Impact,” a song that has enough groove to get you dancing, even as the commentary leaves you rolling on the floor. It’s hard not to crack a smile when listening. And then there’s “PSST!” where he metaphorically compares pulling a friend to the side for a check-in to “sliding you to the side like panties.” It’s cheeky, yet rooted in the reality of wanting nothing but the best for someone. On BLOOM, Bernarr doesn’t just talk about growth; he gets into the weeds and welcomes it all. — K.S.
