Aesthetically, it’s a sound that contains multitudes — there’s the organic traditionalism of neo-soul acts like Bilal, Jill Scott, and Erykah Badu, and the new piano-driven classicism of Alicia Keys and John Legend, to the futurism of Janelle Monáe, the goth moodiness of the Weeknd, the unapologetic realness of Monica and SZA, the trap soul of Bryson Tiller, and much more. Hip-hop and R&B, which began to merge in the Nineties, have enjoyed a symbiotic cohabitation, so much so that in December 1999, Billboard changed the name of its R&B chart to the Hot R&B/Hip-Hop Singles & Tracks. You can hear that in many of the songs that made this list, including entrants from Outkast, Pharrell, and Drake.

R&B and the indie-music underground used to exist on different planets; today innovators like Frank Ocean, Childish Gambino, and Solange are beloved by the mass audience and the hipsterati alike. Similarly, the music’s most towering figures, such as Beyoncé and Rihanna, can maintain their status as maga-stars without sacrificing their identity as R&B royalty, striking a balance that was nearly impossible to attain for Michael Jackson or Whitney Houston, even in their heydays. Solange exemplified that sense of aesthetic pride and self-assurance in 2013 when she famously tweeted in defense of the “culture of R&B,” a concept that would’ve seemed odd in the mainstream of 1995 or 1985.

Through all these musical variants, what’s made R&B great in this era has been what’s made it great in every era: incredible singers putting their stamp on unforgettable songs. To make our list of the 100 Greatest R&B Songs of the 21st Century, Rolling Stone convened a panel of staffers and critics with deep knowledge of the genre. We spent less time debating what R&B was then letting our taste guide us to the music we couldn’t live without, from massive hits to lesser-known gems. We’ve included a playlist to help tell the story, and set the mood. We hope you have as much fun listening to it as we did making it.

• The Internet, ‘Special Affair’

  Image Credit: youtube On their third album, Ego Death, the rangy Odd Future-affiliated R&B collective the Internet graduated from the vibes-heavy experimentation of their early LPs to, well, stronger and stranger vibes, with unexpected hooks emerging throughout. On first single “Special Affair,” those vibes are thick enough to cut with a knife. Singer Syd opens with, “I know what you want/I can read your mind even from behind,” and gets even more rakish from there, teasing shots of Patron (and their after effects) with an almost vampiric seductiveness. The music thumps on, immaculate, like a nightclub that never closes. —C.P.

• Jill Scott, ‘A Long Walk’

  Image Credit: Sal Idriss/Redferns Philadelphia became a hip-hop-soul hotbed in the Nineties and early 2000s with the emergence of acts like the Roots, Musiq Soulchild, and Jill Scott. “A Long Walk,” from Scott’s acclaimed debut album, Who Is Jill Scott? Vol 1, stands as a cornerstone of that new era of Philly soul. Weaving themes of love, sensuality, and dating in lyrics like “conversations, verbal elation, stimulation/Maybe we could talk about Surah 31:18,” the slow, smooth, deeply relatable track was a nuanced reflection of the experiences of Black women delivered by a powerhouse singer and neo-soul leader. —K.T.

• Raphael Saadiq feat. D’Angelo, ‘Be Here’

  Image Credit: youtube This 2002 duet between neo-soul titans Raphael Saadiq and D’Angelo explores the full spectrum of male romantic longing over a rhythm that manages to be both laid-back and urgent, with the two singers ticking off how they’d fulfill all their partner’s desires, from breakfast in the morning to “sleazin’ and teasin’” at night. It’s a simmering come-on all the way through the outro, where Saadiq and D’Angelo trade off vamps before braiding their voices into gorgeous harmony. —M. Johnston

• Steve Lacy, ‘Bad Habit’

  Image Credit: youtube Steve Lacy got his start playing guitar with alt-R&B act the Internet, but his 2022 album, Gemini Rights, saw him break out as a solo artist, thanks to the Number One hit “Bad Habit,” a summery song about swirling inside your own romantic ambiguity. (The radio cut of the four-minute song didn’t even do it justice, since it cut the last minute, where Lacy croon, “you can’t surprise a Gemini,” showing his magical approach to outros.) Fans of the Internet and Lacy’s earlier work (songs like “Dark Red” and “N Side”) were already familiar with the potential of his endearingly introspective style. “Bad Habit” expanded Lacy’s music to a whole new fan base, with kids and adults singing his opening line, “I wish I knew you wanted me.” —M.Jordan

• Tweet feat. Missy Elliott, ‘Oops (Oh My)’

  Image Credit: youtube Soul songbird Tweet’s ode to fully feeling herself got a bit of its pop-crossover heat from Timbaland’s glitchy production and Missy Elliott’s devil-on-the-shoulder narration. But Charlene Keys’ 2002 single — which some incorrectly characterized as a Y2K R&B update of “I Touch Myself” — gets its full power from her delighted vocal, which fully captures the surprise someone feels when they can feel comfortable in their own skin: “It was always about her appreciating her Dark Skin (Self Love) when she looked in the mirror,” Elliott posted in 2021. “It was the listeners that thought it was about sex & just ran with it… & we just let the consumers mind create what they wanted.” —M. Johnston

• D’Angelo and the Vanguard, ‘Really Love’

  Image Credit: Ethan Miller/Getty Images D’Angelo took almost 15 years to make the follow-up to 2000’s Voodoo, a period of time he spent battling depression, addiction, and writer’s block, along with who knows what other demons. But one thing we do know is that “Really Love” was always a part of Black Messiah. Questlove originally leaked the track way back in 2007, and even then that effervescent melody was in place, flamenco guitars spiraling ever away from D’Angelo’s voice. In the final version, gull-like strings swoop and hover, suggesting an inescapable melancholy just out of frame. It’s ecstatic stuff — the sort of song from which you build a masterpiece. —C.P.

• Childish Gambino, ‘Redbone’

  Image Credit: Matthew Eisman/WireImage That Childish Gambino, the blog-era rap alter ego of actor Donald Glover, would make one of the funkiest and most popular R&B jams of the 2010s was unexpected, even to Gambino himself. “I didn’t expect it to be a zeitgeist song,” he said in 2017. “Like, it seemed like it just crawled in there … it’s cool that people connected to it. I feel like that’s exactly what you want to do as an artist.” He tapped into his lesser-used vocal chops, marked by a distinct, lovely, and wholly surprising falsetto, to bring the spirit of Bootsy Collins to a new generation. —M.C.

• Jagged Edge, ‘Let’s Get Married’

  Image Credit: youtube In its original incarnation, “Let’s Get Married” was a melted-out concession to fidelity peppered with lamentations about the single life. (“Frankly, girl, I’m tired of this emptiness” is not the greatest proposal line.) But Jermaine Dupri’s “ReMarqable remix” flipped the track into a wedding-reception classic, pairing those plaintive vocal runs with uptempo horn blasts and an exuberant, scene-stealing guest spot from Rev Run. The begrudging tone of the original version turns desperately romantic, like two souls locking onto each other for dear life. —C.P.

• The Weeknd, ‘Wicked Games’

  Image Credit: youtube “Bring the drugs, baby, I could bring my pain,” the Weeknd entreated over goth-guitar spirals and cold-storage drum slaps on “Wicked Game.” His debut single cast a sexy pall over the pop-music landscape that’s never really gone away. Abel Tesfaye came out of Toronto reimagining the late-night Lothario as a bottomless pit of need and aggression — moody and needy, hungry and seedy. Passive-aggressive lines like “I’ll give you what I need” should’ve turned off anyone who got near him, but his gorgeously kiting falsetto has been pulling us back in for more than a decade. —J.D.

• Ne-Yo, ‘So Sick’

  Image Credit: youtube Attention to detail is one of Shaffer Smith’s strongest qualities as a songwriter, and his second single shows why. “So Sick” chronicles the mid-2000s mundanities that feel like shots to the heart after a breakup, whether it’s changing answering machine messages or being confronted with an endless parade of love songs on the radio. Ne-Yo’s resigned vocal delivery imbues the song’s wallowing with a bittersweetness that makes his inability to switch his tuner to something, anything else feel gently tragic. —M. Johnson

• Musiq Soulchild, ‘Love’

  Image Credit: youtube Singer-songwriter and Rhodes keyboardist Musiq Soulchild emerged when the Philly soul renaissance led by Questlove of the Roots and others was at its height. His platinum debut, Aijuswanaseing, featured “Love,” an R&B anthem that he subversively complicates with the woozy tones and off-rhythm flourishes typical of the Soulquarians era. The latter is identifiable by the way Musiq as well as backing vocalists Kindred the Family Soul and Aaries deliver the chorus. “Love/So many people use your name in vain,” he sings as he haltingly pauses between the words “your name in vain.” The track remains a defining moment in neo-soul innovation. —M.R.

• Bilal, ‘Soul Sista’

  Image Credit: youtube A vocal prodigy out of Philadelphia, singer Bilal got his record deal after cutting a demo while attending New York’s prestigious New School for Jazz and Contemporary Music, and soon found himself making a record with the likes of Dr. Dre and J. Dilla producing. His 2001 debut, 1st Born Second, got love from critics for an organic, laid-back feel that typified the organic neo-soul sound of the time, especially on the LP’s breakout single, “Soul Sista,” a sumptuous ode to an exceptionally fine girl with a slow, open-ended groove and overheated background vocals that were the perfect foil to Bilal’s chill sensuality. —J.D.

• Estelle feat. Kanye West, ‘American Boy’

  Image Credit: youtube Big cities never sounded more dreamy than when Estelle’s feathery voice floated over the heavy bass and cricket-sounding synths for 2008’s “American Boy.” The Grammy-winning song introduced the U.K. singer to American audiences on a track anchored by the decade’s hottest rapper, Kanye West, along with writing help from John Legend and will.i.am. The song presented a fantasy of how New York and Los Angeles might appear to visiting eyes, with images of infatuation, confident average-height men, and local fashion (peacoats got a big shout-out), but it didn’t overly romanticize falling in love in (or with) America. Instead, it painted a picture that romance in a big U.S. city can be quick, materialistic, and as flashy as Time Square lights. —E.B.

• Snoh Aalegra, ‘I Want You Around’

  Image Credit: youtube Snoh Aalegra is the queen of playing it cool — and then deviating from that mission. The Swedish singer lays out the heavy tension that takes place when you’re absolutely smitten with a person but resisting for fear of scaring them away. Heavy thumps paired with light melodic piano from producers Cam O’bi and Rob Holladay provide a perfect background for Aalegra’s yearning vocals with echoes from Dutch singer Levin Kali. Appearing on her album Ugh, Those Feels Again, “I Want You Around” took 41 weeks from its release in 2019 to reach the top of the Billboard R&B chart the following year. —E.B.

• Anthony Hamilton, ‘The Point of It All’

  Image Credit: Ray Tamarra/Getty Images Southern soul wizard Anthony Hamilton puts his devotion on full display in the title track from his fourth album, promising that his world revolves around this person. Vocally, Hamilton is a throwback with shades of Bill Withers and Al Green (particularly the latter when he slides into his upper register), while the spacious track combines a crisp, snapping beat with electric piano, gospel organ, and guitar twang that dart around one another as Hamilton’s multitracked vocals pile up in gorgeous, heart-rending ways. “The point of it all, is I love you,” he sings with such conviction that it’s impossible not to believe him. —J.F.

• Carl Thomas, ‘I Wish’

  Image Credit: youtube Carl Thomas never got the mainstream attention he deserved, but he was beloved in the world of R&B as a hugely gifted singer-songwriter who kept traditional soul alive in the 2000s. Thomas’ 2000 debut, Emotional, still stands as one of the greatest albums in the history of the genre. Telling the story of a man who falls in love with a woman who has a family, its hit single “I Wish” was a showcase for Thomas’ velvety vocals, but it still had a modern feel that helped it bridge generations of music fans. Jay-Z even interpolated “I Wish” on his 2000 song ​​”I Just Wanna Love U (Give It 2 Me).” —K.T.

• Ginuwine, ‘Differences’

  Image Credit: youtube It’s unfortunate that Ginuwine is widely remembered as the Lothario whose salaciously kinetic “Pony” collaboration with Timbaland changed the sound of pop music. The D.C. singer went on to record several memorable hits like “Differences,” a track that oozes with romantic sincerity. “My whole life has changed/Since you came in, I knew back then/You were that special one/I’m so in love, so deep in love,” he begins on a memorable chorus that has inspired too many concert singalongs, late-night make-out sessions, and wedding soundtracks to count. Produced by Troy Oliver, it soars as Ginuwine sings with soulful ferocity, “I’m addicted to your love, baby!” —M.R.

• Fantasia, ‘When I See U’

  Image Credit: youtube The fervor, skill, and subtlety Fantasia Barrino baked into “When I See You” has had folks in a chokehold that’s only gotten stronger with time. “Something now is taking over me,” Fantasia sings mightily at the start of the bridge, and it’s a relatable sentiment: Have you ever seen anyone, particularly impassioned men and boys, belt this song in a group? At a wedding? At the club? It’s at once nostalgic with its notes of school-aged crushing, and timeless in singalong nature. —M.C.

• Amerie, ‘1 Thing’

  Image Credit: youtube “1 Thing” is ostensibly about one thing a lover did that set Amerie off, but let’s be real: The one thing is those drums. Rich Harrison’s 10-second flip of the Meters’ “Oh, Calcutta!” is one of the best samples in history, working bongos, cowbells, and crash cymbals into a dizzying, call-and-response frenzy. Amerie stunts all over this playground, etching new rhythms and go-go ear worms into the groove. By the end, she’s riding wordless vocal runs into the outer stratosphere, powered skyward by every body-liberating loop of that beat. —C.P.

• Rihanna, ‘Needed Me’

  Image Credit: Youtube “Didn’t they tell you that I was a savage?” Rihanna asks a too-clingy ex in 2016’s “Needed Me.” It’s the Bajan superstar at her most coldly ruthless, admonishing the poor guy for presuming he was anything more than a fun fling. DJ Mustard provided the production, a heavy-lidded atmosphere of ghostly synths, dubstep buzz, and snare drums that crack like gunfire — perfect accompaniment for peak-era Rihanna’s array of vocal tricks. Few other performers have had such an uncanny ability to embody their characters with such unruffled swagger. —J.F.

• The-Dream, ‘Falsetto’

  Image Credit: youtube In the late 2000s, Terius Nash (a.k.a. The-Dream) co-wrote modern standards like Beyoncé’s “Single Ladies,” and he was a frequent contributor to albums by Rihanna, Kanye West, and others. Picking the best song from his solo career is tough: Highlights like “Rockin’ That Thang,” “Shawty Is a 10,” and “I Luv Your Girl” still get played today on R&B radio, and by the DMV area’s best go-go bands. But his 2007 solo hit “Falsetto” remains the best testament to The-Dream’s musical range, a song that can set the tone for a romantic evening, complete with a huge guitar solo and the kind of vocal acrobatics promised by the song’s title. —M.Jordan

• Silk Sonic, ‘Leave the Door Open’

  Image Credit: youtube Bruno Mars and Anderson.Paak’s debut single as Silk Sonic would, in lesser artistic hands, have come off like a retro soul tribute band. Instead, “Leave the Door Open” was a masterful combination of classic Seventies and Eighties references, lush production, and soothing vocal harmonies. It was warm and romantic but also a little funny, and singing along to the bridge with abandon was pure joy. Mars and Paak came together like musical Wonder Twins; Paak’s raspy, funk-tinged vocals and drums merged with Mars’ more Eighties-leaning pop stylings to create a perfect salve for weary spirits tentatively navigating a return to social norms post-Covid after a year of life on hold. —N.C.

• Chris Brown, ‘Yo! (Excuse Me Miss)’

  Image Credit: youtube With his perfect schoolboy smile, post-adolescent vocal exuberance, and krumping dance moves, Chris Brown won the hearts of preteens and teenagers across the country with “Yo! Excuse Me Miss.” The singer’s debut ushered in a new era for Black teen-pop idols. Contemporary R&B delivered with an impeccable sense of infectious youthful charm, the Dre and Vidal-produced hit opened space for Brown to become a dynamic (if controversial) representation of young Black talent in the pop landscape. —K.T.

• Beyoncé, ‘1 + 1’

  Image Credit: youtube “1 + 1” marks a moment when Beyoncé began a stunning transformation from a reliable pop superstar to an undeniable cultural juggernaut. Her fans could reasonably argue that critics undervalued her earlier 2000s solo output due to male-centered rockism. Still, there’s something remarkable in the way she hearkens to Boyz II Men’s intro on “Uhh Ahh” like she’s a member of the JBs running down old funk numbers. The performance resembles her 2008 hit “Single Ladies (Put a Ring on It)” but at a sharper, quicker pace. It’s a moment akin to when James Brown shifted from “I Got You” to “Sex Machine,” and as Beyoncé begins to shift into warp speed, she makes it clear that from now on, she’s not going to wait for the world to keep up any longer. —M.R.

• Jazmine Sullivan, ‘Pick Up Your Feelings’

  Image Credit: youtube Though she’d been an ever-present figure in contemporary R&B for years, Jazmine Sullivan’s “Pick Up Your Feelings” was the moment the singer moved into the genre’s upper echelon. Found on her 2021 EP, Heaux Tales, the Grammy-winning breakup anthem serves as a therapeutic kiss-off to an old beau. Instead of dwelling on what could have been, the Philly-bred songstress chooses to focus on herself and her healing. As the song progresses, her swagger and confidence become more full-throated, and her always impressive vocal gymnastics further affirm she’s a force not to fuck with. —J.J.

• Usher, ‘U Don’t Have to Call’

  Image Credit: youtube Usher’s third studio album, 8701, took listeners on a journey through the ups and downs of a relationship that may or may not have reflected his then-real-life partnership with TLC’s Chilli. The LP’s third single followed the massive ballad “U Got It Bad” but took the narrative in a different direction — to the club. Pharrell Williams and Chad Hugo’s infectious production was part of the Neptunes’ sonic dominance of the early 2000s, and their trademark spacey synths created a deceptively upbeat and danceable backdrop for Usher’s melodic and unbothered FAFO warning to his lady love. It’s a millennial version of Lou Rawls’ jaunty “You’ll Never Find Another Love Like Mine.” The song endures as both a time capsule for the sound of 2001 and a classic post-heartbreak anthem. —N.C.

• Alicia Keys, ‘You Don’t Know My Name’

  Image Credit: youtube The lead single off The Diary of Alicia Keys finds our heroine daydreaming about gaining enough confidence to tell someone that she admires them. The production team of Keys and Kanye West showcases both artists’ old-school sensibilities, as the singer-songwriter hums over a hip-hop-inspired take on the Main Ingredient’s “Let Me Prove My Love to You,” which (of course) is made complete by her piano prowess. Over the years, the song has been sampled in tracks by Lil Wayne and Westside Gunn, underscoring the deep appeal of A.K.’s Grammy-winning modern classic. —J.J.

• Janet Jackson, ‘All for You’

  Image Credit: youtube While Janet Jackson’s excellent 1997 album, The Velvet Rope, veered more toward the serious and sexy, her 2001 follow-up, All for You, was largely comprised of lighter fare. The album’s title track signaled that shift with its effervescent dance-pop feel heightened by Jackson’s soulful lilt. By sampling Change’s uplifting 1980 tune “The Glow of Love,” Jackson added a hint of disco to “All for You” as she flirts her way through the club. “All my girls at the party, look at that body/ Shakin’ that thing like you never did see/ Got a nice package all right/ Guess I’m gonna have to ride it tonight,” she says with a wink. —I.K.

• SiR, ‘John Redcorn’

  Image Credit: youtube Inglewood, California crooner SiR’s critical breakthrough Chasing Summer is an impeccable R&B album, full of lust, longing, and introspection. On it, “John Redcorn” — where he soulfully embodies the romantic angst of the King of the Hill character for whom it is named without a hint of cartoonishness — is a standout. It’s a savory unison among SiR, TDE in-house producer Kal Banx, and multifaceted musician Jeff “Gitty” Gitelman; Banx and Gitelman have also offered their rich R&B soundscapes to the likes of Jorja Smith. From SiR’s painstaking lilts of “Why am I alone when I know that you want me too?” to the smoky guitar beneath them, “John Redcorn” is easy to get lost in quickly, like a good episode of television. —M.C.

• Destiny’s Child, ‘Cater 2 U’

  Image Credit: youtube In a slight departure from their “for the ladies” anthems, the Grammy-nominated album opener from DC3’s final LP, Destiny Fulfilled, is an ode to womanly submission. Gentle twinkles and intoxicating synths set the scene, as the trio coo about doing everything to make their man comfortable. Both in its prime and in recent years, “Cater 2 U” garnered pearl-clutching reactions for its subservient lyrics. However, what prevails above the noise is the song’s composition and masterfully executed harmonies, showcasing what really made Destiny’s Child stars in the first place. —J.J.

Michael Jackson, ‘You Rock My World’

When Invincible was released in 2001, Michael Jackson was seen as “wacko Jacko,” a shadow of his former self mired in an artistic slump. But with the help of producer Rodney “Darkchild” Jerkins, “You Rock My World” stood as a testament to his enduring legacy. With its infectious groove, impeccable vocal delivery, and signature MJ flair, the song was not only a stellar addition to the R&B canon, it also symbolized a pivotal moment in the King of Pop’s journey. As one of the last major hits before his passing eight years later, it serves as a poignant reminder of his unmatched influence on the genre. —K.T.

What are the top 40 R&B songs right now?

Hip-Hop and R&B Top 40.

RuinUsher•Ruin. ... .

Never Lose MeFlo Milli feat. ... .

PrecisionBig Sean•Precision. ... .

BanditDon Toliver•Bandit. ... .

prada dem (feat. ... .

Praise Jah In The MoonlightYG Marley•Praise Jah In The Moonlight. YG Marley. ... .

redrum21 Savage•american dream. 21 Savage. ... .

Whatever She WantsBryson Tiller•Whatever She Wants. Bryson Tiller..

What is the number one R&B song of all time?

1 “Let's Stay Together” by Al Green Originating from his 1972 album of the same name, this song has gone down in history as one of the best R&B songs of all time. The opening notes of this unique R&B love song are instantly recognizable and still resonate with people as much today as it does when it first debuted.

What is the most streamed R&B song on Spotify?

Top of the list is SZA's 'Snooze' which was released in 2023 and has since been streamed 886.5m times, while also scooping the Grammy award for Best R&B Song earlier this year.

What are the top 40 songs today?

Topsify US.

Illusion. Dua Lipa. 03:08..

Beautiful Things. Benson Boone. 03:00..

Lose Control. Teddy Swims. 03:30..

i like the way you kiss me. Artemas. 02:22..

Austin. EDasha. 02:51..

we can't be friends (wait for your love) Ariana Grande. 03:48..

Training Season. Dua Lipa. 03:29..

After Hours. EKehlani. 03:22..