This Week in R&B: From Essence Fest to Indie Moves, the Culture Is Still Cooking

While R&B continues to evolve sonically, it’s the conversation around the music—where it lands, who’s pushing the genre forward, and who should probably sit out a few vocals—that keeps fans plugged in. This week’s episode of This Week in R&B was full of passionate takes, hilarious honesty, and well-earned praise for artists new and legendary. The crew didn’t hold back as they covered key moments from Essence Fest, broke down Brent Faiyaz’s indie playbook, and gave love to artists like Syd, Tink, and Jane Hancock who are quietly (and not so quietly) redefining the scene.

As always, the panel kept it real. Whether they were talking about missed notes, perfect tones, or ownership and publishing splits, the commentary was rooted in deep respect for the genre—even when the jokes flew. The music is always central, and this week was no exception.

Essence Fest: Glorilla and the Limits of Range

One of the most talked-about moments of Essence Festival wasn’t just who hit the stage—it was who hit the wrong notes. Glorilla, known more for her charisma and Memphis energy than her vocal chops, surprised fans when she attempted to sing Keyshia Cole’s “Love” live in the Superdome. According to the crew, it didn’t go well. “She hit every note that don’t exist,” one host quipped, before others jumped in to agree that Glo might need to keep the R&B tributes off her setlist.

They weren’t clowning her without love, though. “I mess with Glo, but I’mma fry her for that,” one said. Others pointed out she could have let the crowd sing most of it and kept it moving. “She could’ve just hit that ‘I used to think…’ and dipped,” another added. It wasn’t an issue of talent, they clarified—it was about knowing your lane and honoring the vocal legacy of a record like “Love.”

Essence Fest is a celebration of Black music and culture, and the crowd comes expecting vocal moments to remember. That pressure is real—and while Glorilla brings her own flavor to the culture, some songs are better left to the crowd or played straight off the aux. Still, her willingness to take risks and show range—however shaky—keeps her name in the conversation.

In contrast, the conversation around Boyz II Men’s set at Essence was full of flowers. They closed the weekend with a powerful performance that reminded the panel what real R&B vocals sound like. “They shut it down like they supposed to,” one host said. The group’s longevity and stage presence still resonate, proving that when it comes to live R&B, finesse wins over flash every time.

Brent Faiyaz and the New Indie Hustle

The conversation shifted to Brent Faiyaz, who’s quickly becoming one of the smartest businessmen in R&B. While mainstream listeners know him for his moody, atmospheric records, the hosts took a deeper look into how Brent is navigating the music industry on his own terms. “He’s working the system like LeBron,” one said, referring to Brent’s one-off licensing deals and label-free flexibility. He’s not just making music—he’s moving strategically.

What stood out most wasn’t just his creativity, but the checks that come with his independence. One host shared that a legendary producer told him Brent was the artist he made the most money with. “That shocked me,” he admitted, “but it makes sense. When you own your masters and you control the business, the money’s different.” That’s a wake-up call for younger artists—especially in R&B—who often prioritize the cosign or big label over ownership.

Faiyaz’s new track “Peter Pan” also got a nod. It’s introspective, understated, and carries the kind of sonic fingerprints that only an artist in control of their process can leave. The panel agreed that Brent’s voice might not be conventional, but that’s exactly what makes it impactful. “He sounds left of center,” one said. “It feels indie. Feels like they created something new.”

For a genre often caught in a tug-of-war between nostalgia and reinvention, Brent Faiyaz is staking out a lane that embraces both. He’s proof that R&B can still be rebellious—and profitable—when you put the art and the business on equal footing.

Syd and the Subtle Power of “Die for This”

Another standout moment came when the crew turned their attention to Syd of The Internet, who recently dropped a solo track titled “Die for This.” The lyrics—“Really love my life, but I would die for this”—struck a chord with everyone on the panel. “That’s a strong lyric,” one host said. “It’s not about hating life. It’s about loving something so much, you’d give everything for it.” The crew saw it as a continuation of Syd’s signature vulnerability—unfiltered, grounded, and uniquely her.

They connected her lyricism to a broader R&B lineage, even referencing Prince’s “I Would Die 4 U.” One host recalled attending a Prince tribute show where a fan insisted the song was about Jesus. “At first I thought it was a reach, but then I started seeing it,” he said. That comparison elevated the conversation around Syd’s writing—whether she’s singing about heartbreak, identity, or creative purpose, it’s clear she’s operating on a higher level.

Syd also got flowers for her songwriting pen. One host revealed that she co-wrote “Coffee,” the sensual Kelly Rowland record that’s become a fan favorite. “She’s really that times ten in the studio,” he said. “I became a fan, and then I got to work with her, and it just confirmed it.” That versatility—writing, producing, performing—makes Syd one of the most layered artists in today’s R&B.

Still, the panel noted that while Syd has a strong cult following, her reach in the mainstream—particularly within the Black community—feels quieter than it should. “She’s connected to Odd Future and Frank Ocean, but she’s still kind of low-key,” one said. That’s all the more reason to turn up the volume on her work now.

Jane Hancock, Tink & Bryson Tiller: Women Owning the Moment

Rounding out the music coverage, the hosts gave a spotlight to Jane Hancock, an artist from the Bay who’s been quietly building a name for herself through strong songwriting and unique tone. Her new song “Stare at Me” caught the panel’s attention. “Jane is super talented,” one host said. “She’s written for a lot of people, and now she’s shining on her own.” Signed to Death Row, Hancock represents a new wave of female artists who are writing their own rules.

The segment also touched on Tink’s recent collaboration with Bryson Tiller, “Can We Talk.” The crew unanimously labeled it a jam. “Tink is talking her sh*t on the road, and Bryson adds that smooth R&B balance,” one host said. The blend of her rap-inflected delivery and his melodic finesse made for a solid match. “This one’s a heater,” they added.

There’s a broader theme in this conversation: women in R&B aren’t just contributing—they’re defining the genre’s direction. Whether it’s Tink’s bars, Syd’s writing, or Jane Hancock’s vocal identity, these women are moving freely across styles and lanes. “It’s staying power,” one host said. “They’re not just moments—they’re building catalogues.”