Kehlani
Kehlani (released April 24, 2026)
Ever since we hit 2010, and R&B hit a creative wall, every few years when a new artist gets a little buzz and significant traction they’re instantly crowned THE NEW SAVIOR OF R&B.
We saw it with Miguel and his kaleidoscope. We saw it with the best part of Daniel Caesar and Ella Mai’s boo. We saw it when we peeped HER’s silhouette and Jazmine’s Heaux’s.
And in almost every case, I never take the bait. I guess I’m just cynical like that.
I mean, y’all have been reading me for years. Of course I’m cynical like that.
But last year a new contender entered the area.
Well, not really new, but certainly revitalized.
Kehlani Parrish has been one of R&B’s more notable names in recent years, initially turning heads in 2017 with her debut SweetSexySavage and dropping decently received projects in the years since.
Emphasis on the word “decent.” While I liked a few songs here and there, with the occasional album winning me over (2020’s It Was Good Until It Wasn’t specifically) there was nothing in her catalog that truly moved me.
But last summer, like everyone else, I “Folded.”
Nearly a decade after she debuted, Kehlani finally had a track that hit me harder than Tommy “Hitman” Heard did Marin. And I wasn’t alone – it garnered two Grammys earlier this year, spawned a half-dozen remixes and suddenly we had THE NEW SAVIOR OF R&B.
The beauty of “Folded” is its simplicity. Kehlani’s performance is measured – she’s not chewing up her vocals or reaching for notes that are out arm’s length. The atmosphere is mellow but soulful – not boring vibes, not repetitive afrobeats, not hip-hop masquerading as R&B. The lyrics are forceful but pair well with the serenity of the production – no overtly crude cussin’ or ranty IG-caption lyrics to take you out of the experience.
It’s R&B done right. And that raised expectations absurdly high for Kehlani’s self-titled fifth project, the album that is destined to save R&B – if you ask R&B Twitter.
Spoiler: It gets mighty close to meeting all those absurdly high expectations.
While the follow-ups to “Folded” may have achieved mixed results (“Out the Window” is a wonderfully reflective mid-tempo groove plucked from 2000-era Midnight Love; but the Missy Elliott-backed “Back and Forth” never feels like it truly lands) more than a few songs on this project are able to stand outside of “Folded’s” massive shadow – especially on the first half.
“Growth doesn’t always sound pretty at first/you’re about to hear … a voice stepping into its truth,” Kehlani proudly proclaims on the album “Intro.” She knows the pressure is on and she’s ready to embrace her evolution.
Sonically, this album is up to the challenge. That rockets us into “Another Luva,” another 2000s-coded R&B banger laced with hi-hats and sneaky strings. And that’s before the horns blare in. The serene production of “Still” creeps through your speakers as Kehlani laments past regrets without resorting to childish anger. The soundscapes reflect her maturity.
“Oooh” is a straight-up bedroom burner that relies on euphemisms to express Kehlani’s urges instead of stooping to overly crass and graphic lyrics. It’s the difference between sexy and silly. And the pulsating production only helps. See, I can use euphemisms too!
But I’m sure the loudest conversation will come from two high-profile duets – “I Need You” with Brandy and “ Shoulda Never” with Usher. And yes, both are major wins. Kehlani and Brandy’s vocals weave together seamlessly – we even get a tag-team match across the bridge, for an extra treat. That chemistry is shared with the union with Usher, complete with a spelling-bee styled rap session at the end. Y’all know how much Usher loves spelling his name and Kehlani has a ball getting in on the act. On both songs, Kehlani not only holds her own with two R&B legends, she feels like she’s on equal ground with them. Both are some of her best work to date.
Speaking of features, this project is crammed with them, which did cause some observers to worry if less should be more.
Me, I am some observers.
In some cases, including the two above, the guest work well. My Va brethren Clipse are back in top form on “No Such Thing,” complete with Lutha shoutouts. They understood the assignment. Even Lil Wayne, who is as hit or miss as a pinata party, adds needed spice to “Anotha Luva.”
But the guests on the second half of the album? Ehhh, not so much. And that’s where the project loses a bit of momentum.
It’s not that the songs are bad per se. “Pocket” is mildly catchy but Cardi B feels totally tacked on. And charges should be brought against her for that cringy “ham and cheese” line she uttered. Ugh. But hey, it’s not so bad because Big Sean is (mostly!) on beat for his contribution to “Lights On!” (Mostly!) Again, it’s another serviceable song that didn’t need additional backup. More disappointing is “Sweet Nuthins” with Leon Thomas. The production feels so similar to “Folded” that you’d think it was an unofficial remix but something’s off with the mix of Leon’s vocals and it’s pretty distracting.
And, because Kehlani clearly has jokes and wants to personally troll me, we got T-Pain AND Lil Jon on “Call Me Back.” Yay, the loudest guys of the 2000s get to SCREAM IN MY EARS for 3 minutes and 19 seconds. Personal annoyances aside, the track is clearly meant as nostalgia bait for the Terrance & Rocsi 106 & Park generation – it’ll play well for them but sonically it’s not a good fit for the album.
While it may seem like I’ve been throwing rocks at the album’s second half, most of the tracks are still listenable (just turn the volume down on “Call Me Back”). However, “Cruise Control” is by far the standout of the section. No awkward features to weigh things down this time; it’s just a bouncy R&pop track that harkens back to Kehlani’s earlier projects, proving that the old Kehlani is still here, and still growing.
Bloated guest list and a couple late-album misses aside, this is the project Kehlani has always deserved. The production is crisp, the vocal performances are diverse and lively and the writing avoids modern cliches. The album sounds like it dropped in 2006, not 2026 – and if you know my thoughts on that year, you know that is the highest of compliments.
I refuse to call Kehlani the NEW SAVIOR – she doesn’t deserve that type of pressure. But I will call her a survivor. After years of highs and lows, all her potential has turned into promise. She’s finally found the artist she was meant to be, and R&B is better for it.
Now if she can convince the rest of her peers to follow her lead, we’d really be getting somewhere. And maybe “savior” wouldn’t be such a bad term after all.
Best tracks: “Folded,” “Shoulda Never,” “I Need You”
4 stars out of 5
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