Anyone who's still asking if R&B is "dead" in 2021 just isn't paying attention. Not only did R&B singers enjoy record-breaking success this year, but the genre also became more intertwined with mainstream music than ever before.

In charting accolades, Summer Walker clenched her first No. 1 album on the Billboard 200 with her second album, Still Over It. The 20-song LP also broke the Apple Music record for the most album streams in a single day by a female artist and became the highest-charting album by a woman R&B singer since Beyoncé's 2016 masterpiece, Lemonade. Meanwhile, An Evening with Silk Sonic, the debut album of Anderson .Paak and Bruno Mars' superduo Silk Sonic, entered the Billboard 200 chart at No. 2 and also became .Paak's first No. 1 album on the Billboard Top R&B/Hip-Hop Albums chart.

Sonically, artists like KIRBY advanced the sound of modern soul on her Sis. He Wasn't the One EP, and Ty Dolla $ign and dvsn led the '90s R&B revival through some clever samples. R&B continued to grow and change this year, with innovative newcomers incorporating new sonic influences and R&B legends reminding fans why the genre will always live on.

From Trap&B to the return of girl groups, read on for eight trends that emerged in R&B music this year.

Trap&B

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Lil Tjay and 6LACK hit the perfect combination of R&B and trap music with their melodic collaboration, "Calling My Phone." Soulful R&B feels and sparse trap production has been a popular pairing since the 2010's, but the two artists turned the trend into a major win. Along with being certified double platinum, "Calling My Phone" debuted at No. 3 on the Billboard Hot 100 — an all-time high for both Tjay and 6LACK — and took the No. 1 spots on Billboard's Hot R&B/Hip-Hop Songs, Hot Rap Songs and Streaming Songs charts.

As "Calling My Phone" suggests, the genre-blurring combo of R&B and trap is here to stay. "Woo Baby," the Chris Brown-featuring single from Pop Smoke's second posthumous album Faith, melded the genres with a sample of Nelly's 2005 song "So Sick," and modernized trap production. Yung Bleu also captured the crossover with his long-awaited debut album, Moon Boy.

Return of the '90s

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Many '90s trends made triumphant returns in this year’s fashion and culture, and R&B was no exception. On their collaboration "Memories," Ty Dolla $ign and singer/producer duo dvsn (Daniel Daley and Nineteen85) sampled Silk's "Freak Me," adding their own updated spin to the 1993 bedroom hit. With nostalgic production by 40 and Nineteen85 and steamy lines from Ty and Daley, "Memories" demonstrates how the decade is still a major influence on R&B.

Cardi B and Normani also struck gold with a '90s sampling, using Aaliyah's 1996 classic "One in a Million" on their hit collaboration, "Wild Side." Similarly, a sample of Montell Jordan's 1999 song, "Get It On Tonite" crept its way onto Mahalia's dreamy offering, "Whenever You’re Ready."

Modern Soul

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KIRBY breathed new life into classic soul with her 10-song EP, Sis. He Wasn't the One. Incorporating impressive falsetto, the Memphis-born singer and songwriter modernized the nostalgic sound with cuts like "Lately" (featuring BJ The Chicago Kid) and "Boyz II Men," in which she shouts out her neo-soul predecessor Erykah Badu (“Badu tried to warn mе 'bout these Tyrones,” she sings before the final chorus).

Sis. He Wasn't the One was one of several contemporary soul records released this year — including Cleo Sol’s Mother, Phabo’s Soulquarius and Leon Bridges’ Gold-Diggers Sound — giving the stylish sound room to grow in 2022.

Girl Groups

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Girl groups used to be a staple in R&B, but VanJess and The Shindellas might just be bringing them back. While Chloe x Halle focused more on their solo careers this year, VanJess held it down for R&B sister duos, releasing their sophomore album, Homegrown. The Nigerian-American pair carved out their own lane in contemporary R&B, mixing nostalgic, '90s-leaning harmonies with an expansive production palette, which included everything from hip-hop to electronic beats. Meanwhile, Nashville-bred trio The Shindellas harkened back to classic R&B, blues and pop sounds on their debut album, Hits That Stick Like Grits.

Rap Collaborations

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While throwing a rap verse into a smooth R&B track can be polarizing for some, Summer Walker and City Girls’ J.T. proved that the formula can offer the best of both worlds. The pair’s unexpected mashup, "Ex For A Reason," puts Walker’s glossy voice over a punchy uptempo beat, with the song’s don’t-take-my-man narrative accented by J.T.’s fiery bars. Singer Joyce Wrice also mastered the rap/R&B crossover on her collab with veteran rapper Freddie Gibbs, "On One," the breakout track from her debut album, Overgrown.

Toxic Love Songs

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On their first-ever collaboration, Bryant Faiyaz and Drake continued the R&B trend of feigned indifference in love songs — a stark contrast to the gushing, romantic gestures that characterized the genre's early sound. On their Neptunes-produced track, the two crooners invite their quasi-partners to "waste their time" with them, but make sure not to come on too strong.

SZA also sang about toxic love on her re-released SoundCloud hit, "I Hate U," which broke Apple Music’s record for most-streamed R&B song by a female artist in its first week. Opting to emphasize her feelings rather than cloak them, the songstress used blunt, raw lyrics to further modernize the trend.

Funk Fusion

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The resurgence of funk and its inclusion in R&B records continued to grow as a trend this year, especially with the release of An Evening with Silk Sonic, the debut project from Bruno Mars and Anderson .Paak’s brilliant brainchild Silk Sonic. With production by GRAMMY-winning producer D'Mile and narration from funk legend Bootsy Collins, the nine-track LP boasted vintage soul and funk melodies that seem to be showing up more and more in retro-yet-contemporary R&B releases. Indiana five-piece Durand Jones & The Indications were also fueled by 70's funk this year, with their album Private Space calling back to the group’s classic influences, from the Isley Brothers to the Temptations.

R&B Legends Return

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Anthony Hamilton released his first album since 2016 this year, making a welcomed return for old-school R&B fans. His eighth studio album, Love Is The New Black, puts his soothing vocals on full display, even tying in the rap collaborations trend with guest appearances from Rick Ross and Lil Jon. While R&B was mostly dominated by newcomers in 2021, there was still a newfound sense of appreciation for genre greats.

Besides comeback releases, Swizz Beats and Timbaland’s webcast series Verzuz highlighted R&B legends. The viral showdown series saw the Isley Brothers battle Earth, Wind & Fire, Chaka Khan take on Stephanie Mills, and D’Angelo recruit H.E.R., Method Man and Redman — all introducing R&B staples to younger audiences and driving the nostalgia that powered several R&B hits this year.

2021 In Review: 8 Trends That Defined Rap

Metro Boomin has spent more than a decade redefining rap music. The gloomy, 808-induced trap beats that flood radio airwaves and blare from nightclub speakers are a symbol of his influence. But now, the Atlanta-based superproducer is on one of his biggest musical runs to date.  

In April, Metro released the second of two joint albums with Future, hinted at a third release this year, sold out a concert at the Kundalini Grand Pyramids in Egypt, and clinched the No. 1 spot on Billboard’s Hot 100 with "Like That" featuring Kendrick Lamar. He also delivered a first-of-its-kind instrumental diss aimed at Drake called "BBL Drizzy," accusing the Toronto rapper of going under the knife.  

The diss was in response to Drake’s "Push Ups" and subsequent disses toward Kendrick Lamar. "Metro shut your hoe ass up and make some drums" he rapped. The verbal blow inspired Metro to release the hilarious instrumental, which he encouraged fans to rap on for a chance to win a free beat.  

Months before the feud, Metro celebrated two nominations for Best Rap Album and Producer of the Year, Non-Classical at the 66th GRAMMY Awards. While he didn’t take home a coveted golden gramophone, the momentum has elevated his career to new heights.  

Before the St. Louis-bred producer kicks off the We Trust You tour with Future on July 30, revisit 10 of Metro Boomin's biggest releases.  

"Karate Chop" (2013) 

A 19-year-old Metro crafted his first charting single right before making a life-changing move to Atlanta. With piercing synths and bubbly arpeggios, the song was the lead single for Future’s highly anticipated sophomore album, Honest. 

But Metro, a freshman at Morehouse College at the time, wasn’t sold on its success. "I never really like it," Metro told XXL. "Then every time people would come into the studio, he would always play the record and I was like, ‘Why are you so stuck on this s—? We have way harder records.’"  

But after cranking out a new mix on the original track, "Karate Chop" went on to become his first placement on a major label album. The remix with Lil Wayne further elevated the record and, by virtue, Metro’s profile as a musical craftsman.  

"Jumpman" (2015) 

 Metro mastered the late-summer anthem in 2015 with "Jumpman." The song was the most notable hit from Drake and Future’s collaborative mixtape, What a Time to Be Alive, and went on to shut down bustling nightclubs and obscure strip joints. And while the record didn’t perform as well as other songs on this list, it secured Future his first Top 20 hit.  

The song — which features Metro’s signature bass and a screeching raven sound effect — also saw a streaming boost after an Apple Music commercial featuring Taylor Swift rapping to the song. According to Adweek, the campaign helped generate a 431 percent increase in global sales 

 What makes "Jumpman" even more special is that a collab between Future, Metro, and Drake may never happen again. Reportedly, the duo is at odds with Drake because the OVO artist decided to link with 21 Savage on Her Loss instead of doing a follow-up project with Future.  

"Father Stretch My Hands Pt. 1" (2016) 

"Father Stretch My Hands Pt. 1" is the song that set Kanye West’s album, Life of Pablo, ablaze. Opening with a clip of gospel musician and singer T.L. Barrett’s Father I Stretch My Hands,” Metro’s signature producer tag kicks the record into full gear. The pulsating synthesizers and bouncy percussion match West’s raunchy and sexually explicit lyrics.  

Metro’s production received significant praise, with several publications pointing to his contributions on end-of-year listings. And in the eight years since its release, "Father Stretch My Hands Pt. 1" has been certified six times platinum by the Recording Industry Association of America, making it one of Ye’s most-sold records of all time. 

"Congratulations" (2016) 

After the success of "White Iverson," a young Post Malone was on the hunt for the hottest producers in the rap game. He managed to land Metro, who worked with fellow producers Frank Dukes and the prolific Louis Bell on the triumphant trap record "Congratulations."  

On a 2022 episode of the podcast "Full Send," Metro revealed that the celebratory song was made after watching the world’s greatest athletes eclipse historic feats of their own. "I remember the Olympics was on TV, and just how the music was sounding, it sounded like some champion s—," he said.  

"Congratulations" marked Post Malone’s second Top 20 hit following his debut, "White Iverson." The song was certified diamond after totaling more than 11 million combined sales. Today, it remains one of Metro’s biggest achievements.

"Bad and Boujee" (2017) 

Fueled by virality and a shoutout from Donald Glover at the 2017 Golden Globes, the Migos and Lil Uzi Vert’s "Bad and Boujee" landed Metro Boomin his first No. 1 Billboard hit as a producer.  

The song has every element Metro fans have grown to love: moody keys, hard-hitting bass, and plenty of room for the artists’ adlibs to pierce through the track.  

Two months before its eventual ascension, the song had a steep hill to climb atop the Billboard charts. But Metro’s production and the chemistry between Quavo, Offset, and Uzi helped the record shoot up to its rightful place. It continues to garner praise In the years since its 2016 release, too. It was ranked No. 451 on Rolling Stone’s "500 Greatest Songs of All Time" list 

"Mask Off" (2017) 

When "Mask Off" dropped in 2017, it scorched the Billboard charts. Hip-hop was flirting with flutes (as heard on songs like Drake’s "Portland" and Kodak Black’s "Tunnel Vision" — another Metro-produced beat) — but "Mask Off" stands out as the biggest song of the short-lived era.  

Metro infused jazz-like undertones to perfectly meld the flute lick into the dark and mystic beat. The record led to the remix with Kendrick Lamar, with his verse breathing new life into the already-seismic hit. It’s now certified nine times platinum.  

Years after the song’s release, Future said "Mask Off" initially put radio programmers in disarray. In his East Atlanta rapper’s Apple Music documentary The WIZRD, he revealed that the song dropped before Carlton WIlliams’ "Prison Song" sample was officially cleared. "Out of all the songs, ‘Mask Off’ wasn’t even legit," he said. "The s— was on the radio, they’re thinking it’s not a sample, but it got so big they were like, ‘It’s a sample.’" 

"Heartless" (2019) 

The Weeknd's "Heartless" is a pop and electro-clash classic that fires on all cylinders. The visuals are atmospheric, the lyrics are ultra-stimulating, and the production — partly handled by Metro — makes for a lasting club banger.  

The leading single for The Weeknd’s fourth studio album, After Hours, topped the Billboard charts. It marked the Toronto-born crooner’s fourth No. 1 hit and unveiled the depths of Metro’s musical arsenal.  

Metro produced four tracks on After Hours: "Faith," "Escape from L.A.," "Until I Bleed Out" and "Heartless." On the latter and in his other collaborations with The Weeknd, James Blake, and Solange, Metro’s creative sorcery was tested. He proved, once again, that he could generate a hit outside the confines of trap music.  

"Creepin’" (2022)

After a solid outing on his first album Not All Heroes Wear Capes, Metro returned with another series of hard-hitting records. His second solo venture, Heroes & Villains, featured John Legend, Don Tolliver, Travis Scott, and other premiere artists. But the biggest song to come out of the star-studded lineup was "Creepin’" featuring 21 Savage and The Weeknd.  

The only single to Metro’s second solo album struck sonic gold. The Weeknd’s flowy vocals overlay the silky and harmonic record, which transitions to a more trap-induced beat once 21 Savage’s verse kicks in. The remake of Mario Winans’ "I Don’t Wanna Know" was a notable departure from Metro’s past singles, which heavily lean on his trap roots. But it still managed to connect with his audience – and even beyond it. "Creepin" peaked at No. 3 on Billboard, which was Metro’s highest-charting solo record up until that point.

Spider-Man: Across The Spider-Verse (2023) 

Following the success of "Creepin’" and his other smash singles, Metro extended his creative powers to the film world. He was given the green light to executive produce the soundtrack for Sony’s Spider-Man: Across the Spider-Verse. 

Metro Boomin told Indie Wire that he crafted songs from rough animations and selected scenes "just to get in the world and the story of Miles [Morales] and what he’s going through," He even exchanged phone calls and texts with the film’s composer Daniel Pemberton to ensure the soundtrack and score were on the same accord.  

From the classical serenade "Am I Dreaming" to the Latin swing of "Silk & Cologne" and the Timbaland-stomping "Nas Morales," the result was an equally transformative musical experience. Each record ranged in musicality and tone while beautifully complementing the vibrant animated superhero flick.

"Like That" (2024) 

"Like That" is easily one of the best beats in Metro’s catalog, and may end up being one of the most memorable. Samples from Rodney O & Joe Cooley’s "Everlasting Bass" and Eazy-E’s 1989 classic "Eazy-Duz-It" shaped the bouncy trap beat, sinister synths, and spine-chilling baseline. But Kendrick Lamar’s verse turned it into a heat-seeking missile.  

With the song’s thunderous bass and rapid hi-hats in the background, Kendrick dissed J. Cole and Drake for their recent claims of rap supremacy, particularly on 2023’s "First Person Shooter." The lyrical nuke sparked the Civil War-style rap feud, which led to a seven-song exchange between Kendrick and Drake.  

The initial musical blow made the genre stand still. It also led to the massive success of the record, which notched Future and Metro another No. 1 hit song. It also helped the pair’s album, We Don’t Trust You, claim the top spot on the Billboard 200 albums chart.  

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer 

In the latest episode of ReImagined, soul-pop newcomer Dylan Chambers delivers a fresh, heartfelt take on "Uptown Funk", using an electric guitar to drive the performance.

In the year of its inception, Mark Ronson and Bruno Mars' "Uptown Funk" quickly made strides across the map, from a No. 1 peak on the Billboard Hot 100 to a Record Of The Year and Best Pop Duo/Group Performance win at the 2014 GRAMMYs. Ten years after its release, it is the ninth most-viewed YouTube video of all-time and was named one of Billboard's "Songs That Defined The Decade."

Chambers named Mars as one of his most influential inspirations and praised Silk Sonic's Las Vegas residency as one of the "greatest concerts" he has attended in an interview with Muzic Notez.

"Don't believe me, just watch," Chambers calls in the chorus, recreating its notable doo-wop ad-libs with the strums of his instrument.

Chambers dropped his latest single, "I Can Never Get Enough" on April 10, following his March release "High (When I'm Low)." Both tracks will be a part of his upcoming EP, For Your Listening Pleasure!, out May 17.

Press play on the video above to watch Dylan Chambers' groovy rendition of Bruno Mars & Mark Ronson's "Uptown Funk," and check back to GRAMMY.com for more new episodes of ReImagined.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs

Houston-based psych rock trio Khruangbin — which means airplane in Thai — are beloved for their globally flavored, luxuriously spacious brand of psych rock. Much of Khruangbin's music is instrumental, laden with funky-yet-chill bass licks, reverb-drenched guitar, calm yet precise drumming and plenty of room to breathe; you could certainly take flight with a spin of any of their four albums.

Guitarist Mark Speer, bassist Laura Lee Ochoa and drummer Donald "DJ" Johnson Jr. found inspiration in cassettes of '60s and '70s era Thai funk bands who fused surf rock with their native folk songs. They'd listen to these tapes while driving out to the countryside barn where they recorded the first album, 2015's The Universe Smiles Upon You. Leisurely unhurriedness, space to roam and underappreciated global sounds with a Texas lilt — this is Khruangbin

As they've grown, Khruangbin has added more global influences to the mix, yet maintained a clearly identifiable sound — one that invites you in and reminds you to breathe deeper. Sophomore release Con Todo El Mundo brought in deeper funk and soul influences from the Mediterranean and Middle East, including the work of Iranian pop superstar Googoosh.

"To [simply] call us Thai funk is a great disservice to the people who made that music in the first place. We’re going to put whatever influence we like into the music. Otherwise, it’s boring," Speer told Bandcamp in 2018. "Funky drums, dub bass, melodic guitar, those are the only rules.”

Songs from Con Todo El Mundo were heard on popular TV shows including "Barry" and "The Blacklist," exposing Khruangbin to a whole new fanbase. Even Jay-Z and Barack Obama joined the fan club. "Texas Sun" with Leon Bridges, their biggest song to date, earned a coveted spot on the former President Barack Obama's 2020 Summer Playlist.

Khruangbin have been touring nearly nonstop since their debut album, and will perform at Coachella on both Sundays. Their live shows are a colorful sonic quilt, and so beloved that the band sold out three nights in a row at the Bowery Ballroom in New York City.

Their upcoming fourth album, A La Sala, due out April 5 on Dead Oceans, is a return to the band's beginnings: spacious, jammy tunes without any outside collaborators. Lead single "Love International" highlights Khruangbin's talent for expertly crafted, soothing instrumentals that invite listeners into a dreamlike space.

Much like the rare global tunes they found inspiration in, Khruangbin is just waiting to be discovered. And once you do, you're hooked and ready to swim in their calming waters. Ahead of A La Sala, take a listen to five essentials from Khruangbin's extensive catalog to get a taste of their unique, inviting sound.

"White Gloves" (2015)

"White Gloves" is one of the trio's first songs with lyrics. The Universe Smiles Upon You track atop which Lee sings of a deceptively simple-yet-sad story of a queen who wore white gloves and died in a fight.

Speer's dreamy, echoing guitar and Johnson's slow-and-steady drumbeat paired with Lee's delicately funky bass, oohs and ethereal vocals make this track feel heavenly and light. Close your eyes and listen to the song's mournful tones, and imagine that perhaps the band is singing in heaven as the queen wanders the clouds with her clean white gloves.

"Maria También" (2017)

The lead single on Con Todo El Mundo, "Maria También" goes full vintage surf rock with a rollicking bassline that vaguely recalls the Surfaris 1963 hit "Wipe Out." They add flourishes of handclaps, bells and sneaky yeahs. It's perhaps one of the band's most driving, urgent tunes — definitely the most so on this album, which was dedicated to Lee's Mexican-American grandfather. 

One of the band's goals on the album was to channel the energy and sound of the outdoor music festivals they'd been playing. "The kick drum is more present in the mix, it drives people to dance,” Johnson told Bandcamp. On "Maria También," the banging kick and jubilant festival energy are fully present.

And in the music video for "Maria También," the trio nods to the Iranian pop influences on the song and album by featuring the many women artists who thrived in Iran prior to the revolution in 1979 but were pushed out by it.

"Time (You and I)" (2020)

This joyful lead single from 2020's Mordechai offers a taste of Khruangbin's more upbeat and vocal side. On it, Lee poetically muses: "That's life / If we had more time / We could live forever," a fitting anthem for the newly locked-down world it came out in. 

Towards the end of the nearly six-minute track, they repeat "That's life" in a variety of languages, a very Khruangbin statement in itself. There's a little bit of jingly cowbell on "Maria También," and here we're gifted with more cowbell flourishes, touches of synth and a healthy dose of funk.

"Doris" with Leon Bridges (2022)

"Doris" is a tender, heartfelt tune dedicated to Leon Bridges' grandmother, from Khruangbin's second collaborative EP, Texas Moon. It's also a great example of the way the band uses space as a powerful tool within their music. 

Here, minimalist instrumentation and a slow, mellow beat allows Bridges' rich voice to shine. In conversation with GRAMMY.com in 2020, Johnson and Bridges compare "Doris" and "Father Father" — another touching and spacious Texas Moon track — to the chopped and screwed sounds of '90s Houston hip-hop.

"It is so slow. And it leaves so much space. The listener is waiting for the next thing to happen within the song," Johnson said of "Doris." "I think that's something that you can really take advantage of, being from Texas and from the South and understanding chopped and screwed culture and that it's okay for things to be slow. It's okay to wait for stuff. I think it goes with the whole Southern way of life, how people slow cook food down here. When my people barbecue, they start the day before. And I take all of that mindset into the music."

"Lobbo" with Vieux Farka Touré (2022)

On 2022 collaborative album Ali, the Texas trio worked with Malian singer, songwriter and guitarist Vieux Farka Touré for a moving tribute to his late father and legendary GRAMMY-winning West African guitarist, Ali Farka Touré, reimagining his music. Khruangbin's playing fits so perfectly with Vieux's haunting voice, languid guitar and the "desert blues" Ali Farka Touré created, it's almost surprising they didn't write these songs together. On the second track, "Lobbo," we get spacious, bluesy guitars and Lee echoing and amplifying Touré's voice for a beautiful, almost mournful tune.

Ali was Khruangbin's most recent studio album, which was followed with a string of live albums, so A La Sala marks a return to where they began, just the three of them jamming together. Yet with them, they bring the influences of their travels and newly discovered records of the world, adding new flavor, wisdom and flourishes to their sound.

Leon Bridges & Khruangbin's DJ Johnson Talk Magic Of New EP 'Texas Moon,' Bringing The Church & Houston Hip-Hop Into Their Music

As Doja Cat put it herself, the 2022 GRAMMYs were a "big deal" for her and SZA.

Doja Cat walked in with eight nominations, while SZA entered the ceremony with five. Three of those respective nods were for their 2021 smash "Kiss Me More," which ultimately helped the superstars win their first GRAMMYs.

In this episode of GRAMMY Rewind, revisit the night SZA and Doja Cat accepted the golden gramophone for Best Pop Duo/Group Performance — a milestone moment that Doja Cat almost missed.

"Listen. I have never taken such a fast piss in my whole life," Doja Cat quipped after beelining to the stage. "Thank you to everybody — my family, my team. I wouldn't be here without you, and I wouldn't be here without my fans."

Before passing the mic to SZA, Doja also gave a message of appreciation to the "Kill Bill" singer: "You are everything to me. You are incredible. You are the epitome of talent. You're a lyricist. You're everything."

SZA began listing her praises for her mother, God, her supporters, and, of course, Doja Cat. "I love you! Thank you, Doja. I'm glad you made it back in time!" she teased.

"I like to downplay a lot of s— but this is a big deal," Doja tearfully concluded. "Thank you, everybody."

Press play on the video above to hear Doja Cat and SZA's complete acceptance speech for Best Pop Duo/Group Performance at the 2022 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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