Every era has an abundance of classic recordings making it hard for me to say which era was the “best”. I think some genres did better in particular eras like Reggae which was truly ground-breaking in the 70s. Pop was at its best in the 80s & Neosoul held the 90s down indubitably. The 2000s has its memorable moments that many future music historians as genre-breaking in its own right. I love it all!! I’ve gathered here my R&B faves of the 2000s broken down by year. I threw in some Pop/Rock classics that are downright soulful……. 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019

Forty-four tracks and a title that tells you the brief: this is the volume that moves. Deep house from Johannesburg, afrobeats from Lagos, and the beginnings of amapiano. African ChillZone III — Move!!! The third volume is the most South African of the series, and that focus is what makes it valuable as a document. Assembled around 2020, it catches the exact moment when amapiano stopped being a Pretoria township sound and started travelling — and it puts that transition alongside the deep house and Afro-house scene that preceded it. If you want to understand how South African dance music got to where it is, this is a better education than any single album. What to listen for Master KG's "Jerusalema" in the Burna Boy remix opens, and its global success in 2020 remains one of the strangest chart stories of the decade — a gospel-inflected house record in Zulu, spread by a dance video from Angola. Sha Sha's "Tender Love" with DJ Maphor...

Nineteen tracks from the South African DJ who took deep house out of Durban and made it a global language. Black Coffee Nkosinathi Maphumulo is the most internationally significant South African musician of his generation, and the story of how he got there includes a detail most profiles mention and few explore: in 1990, as a teenager celebrating Nelson Mandela's release from prison, he was among a crowd struck by a car. The injury left his left arm permanently impaired, which is why he DJs almost entirely with one hand. His music is unmistakable. Where European deep house tends towards minimalism, Black Coffee builds records with real melodic and percussive density — layered African percussion, prominent vocals in Zulu and English, chords that resolve like gospel — and mixes them with a depth of low end that makes them work on the largest systems in the world. He won a Grammy for Subconsciously , which confirmed formally what the residencies in Ibiza had alrea...

Twenty-six tracks from the two producers who invented a genre, most of them recorded in a burst of activity that changed South African music entirely. Kabza De Small, DJ Maphorisa & Friends Kabza De Small and DJ Maphorisa — working together as the Scorpion Kings — are the central figures in amapiano , the South African genre that emerged from the townships around Pretoria in the mid-2010s and became the dominant dance music of the continent. The sound is specific and easy to identify once you know it: a slow tempo, usually between 110 and 115 beats per minute; deep, resonant bass often produced by the log drum, a percussive bass patch that slides between notes; sparse, jazz-derived keyboard chords; and shakers doing most of the rhythmic work. It descends from kwaito and from deep house, and it is unusually patient — tracks take minutes to arrive anywhere. Their working method matters too. Both are prolific to an almost unreasonable degree, releas...

Forty-five records from 1980 — the year disco was officially over and its entire rhythmic vocabulary quietly took over the radio. 1980: the year the eighties started The received story is that disco died in 1979 and something else replaced it. What this playlist demonstrates is that nothing was replaced; the label was simply dropped. The records in this set are built from the same components as the ones released eighteen months earlier, but the bass is synthesised, the drums are harder, and nobody is calling it disco any more. That transition is the most interesting thing about 1980, and hearing forty-five of its records in sequence makes the continuity impossible to miss. What to listen for Zapp's "More Bounce to the Ounce" is the future arriving. Roger Troutman's talkbox and that bassline became the foundation of West Coast hip-hop a decade later, and the record still sounds like it was made in a...

Twenty-nine tracks from a San Antonio singer and his longtime producer — one of the most fruitful one-to-one partnerships in modern R&B. Xavier Omär Xavier Omär recorded for several years as SPZRKT before adopting his own name, and the through-line across both eras is his work with the producer Sango . That partnership is the real subject of this playlist. Sango — an American producer whose signature sound is built on Brazilian baile funk rhythms, chopped vocals and enormous, soft low end — gives Omär a setting no other R&B singer has. Omär in turn sings with a lightness and an optimism that is genuinely rare in the genre: these are records about devotion and pleasure rather than about damage. He is also openly a Christian artist working in secular R&B without making that the subject, which produces an unusual emotional register — sensual but never cynical. What to listen for "Blind Man" is the signatur...

Twenty-one tracks from a Cincinnati singer who went from a television talent show at sixteen to one of the most respected R&B voices of his generation. Arin Ray Arin Ray first appeared on American television as a teenager, placed into a manufactured group on The X Factor — the kind of start that usually ends a serious career before it begins. What happened instead is that he went away, wrote, worked, and came back with a sound rooted in Cincinnati funk and West Coast R&B that owes nothing to the show at all. His voice is the main event: a light, agile tenor with real grain in it, and a phrasing habit of trailing off at the end of a line rather than landing it. It makes even his most polished records feel conversational. He is also an unusually generous collaborator, which is why so much of this list is guest appearances — and why so many rappers keep calling him. What to listen for "Communication" with DRAM is the obvious entry point ...

Twenty tracks from a New Orleans writer and singer whose records sound like overheard conversations set to music. Ambré Ambré came out of New Orleans and made her name first as a writer, which is audible immediately: her songs are structured around specific, unglamorous detail rather than around hooks, and they frequently end without a chorus arriving at all. The production matches. Her records are low, hazy and deliberately unfinished-sounding, with vocals buried far enough into the mix that you lean in to catch a line. That is a risky choice in a genre built on vocal display, and it is what makes her interesting — she is one of very few R&B artists whose records actively resist being background music. She has appeared repeatedly on the Insecure soundtracks, which is a reliable marker of quality in this corner of the music: that show's music supervision found more good artists early than any radio format managed. What to listen for "fubu...

Forty-six calypsos from the man who has held the title Calypso King of the World for longer than most countries have had their current constitutions. The Mighty Sparrow Slinger Francisco was born in Grenada in 1935 and raised in Trinidad, and he turned ninety in July 2025. He has been the dominant figure in calypso since "Jean and Dinah" won him the Carnival road march and calypso crown in 1956 — a span of nearly seven decades at the top of a genre. What is easy to miss from outside the tradition is that calypso is primarily a literary form. The music is a vehicle; the writing is the point. A calypsonian is expected to comment on politics, scandal, morality and gossip in verse that scans, rhymes and lands a joke, and to do it topically enough that the song dates within a year. Sparrow's achievement is having written hundreds of these and having a large number of them survive anyway. He is also very funny, frequently obscene by implication rather than statem...

My favorite calypsonian…hip till the end!

Ten tracks from a Nigerian songwriter whose gift is making enormous pop records out of very small, very specific observations. Teni Teniola Apata arrived in Nigerian pop as a songwriter rather than a star, and that is still the most useful way to hear her. Where much of afropop is built on production, her records are built on words: the melodies are simple, repetitive and instantly memorable, and the writing is doing the heavy lifting. She comes from a notable family — her sister Niniola is a significant artist in her own right, working the Afro-house side of the same scene — and the two of them together represent a fairly complete picture of where Nigerian music was in the late 2010s. Her public persona is expansive, funny and entirely unbothered by the industry's expectations of how a female pop star should present herself, and that is not incidental to the appeal. What to listen for "Case" is the breakthrough, and it is a genuinely unusual ...

Eighteen songs from two Norwegians who titled their first album Quiet Is the New Loud and then spent twenty years proving it. Kings of Convenience Erlend Øye and Eirik Glambek Bøe met at school in Bergen and have made records together, intermittently and unhurriedly, ever since. Their debut arrived in 2001 with a title that functioned as a manifesto, at a moment when British and American guitar music was as loud and as posturing as it had been in years. The formula has barely changed and does not need to. Two acoustic guitars, two voices in close harmony, occasional strings, and a level of dynamic restraint that borders on the perverse — nothing on any of their albums is louder than a conversation. What keeps it from preciousness is the songwriting, which is considerably more sophisticated than the arrangements let on. The chord movements are jazz-inflected, the interlocking guitar parts are genuinely intricate, and the lyrics are dry rather tha...

Thirty-one tracks moving between the mainstream and the underground without ever announcing which is which — the point being that by 2019 it had stopped mattering. Chilled Soul Vol. 18: Mainstream & Underground Flow The framing in the title describes a real division that was in the process of collapsing. For most of the history of R&B, the gap between the radio artist and the underground one was a gap in resources: studio time, promotion, distribution. By the late 2010s all three had become cheap, and the results are audible here — a ZAYN record next to a Nigerian artist's self-released single, with no drop in production quality between them. The sequencing is the strongest in the series. It moves between British, American and West African artists without ever flagging the transition, which is exactly how people actually listened by then. What to listen for Jordan Rakei's "My Time" is the most musically substantial thing here — a New ...

Forty-four records from the seventies and eighties, sequenced by somebody who clearly knows which album track is better than the single. Chilled Soul Vol. 17: Old School Magic This is the volume where the series turns backwards, and it is the best-curated set in the run. The reason is straightforward: almost none of these are the obvious choices. Where a lazy old-school playlist reaches for the ten records everyone owns, this one reaches past them to the album cuts and second singles, and the result is a set that sounds familiar without being predictable. The temperature is consistent throughout — slow to mid-tempo, heavy on Philadelphia and Chicago, strings and Fender Rhodes everywhere — and it holds across forty-four tracks, which is not easy. What to listen for Michael Henderson's "Valentine Love" in the slow version opens the set, which is a statement of intent: Henderson was Stevie Wonder's bass player before he was a singer, and this is a...

Fifty-five records for the small hours, built almost entirely from artists who were nobody's household name when this was assembled. ChilledSoul 15: Late Night Edition The late-night set is the oldest format in Black radio and the easiest to do badly. What lifts this volume above the average is that it is almost entirely contemporary and almost entirely un-famous — a set of records made between roughly 2016 and 2019 by artists who were then building audiences without radio support at all. That gives it a documentary value the big-name quiet-storm collections lack. This is what the format actually sounded like once it moved from radio to streaming, and the production consistency across fifty-five tracks by fifty different artists is remarkable. What to listen for MFSB's "Lay In Low" opens the set, which is a deliberate piece of framing — the Philadelphia house band that played on hundreds of records, placed first so that everything after it inherits...

Thirty-eight tracks of new soul from the years when the genre's centre of gravity moved decisively away from radio. Chilled Soul Vol. 14: Underground Fire II Assembled around 2019, this is a set that reads better now than it did then, because a striking number of these artists went on to become significant. That is the mark of a curator listening ahead rather than behind. The organising taste is clear: warm production, live-sounding rhythm sections, jazz-derived harmony, and singers who prefer nuance to volume. What it avoids entirely is the trap-adjacent R&B that dominated the charts in the same period. What to listen for Lucky Daye appears three times, which is the strongest signal here. "Roll Some Mo" and "Little More Time" with Victoria Monét both came from Painted , the debut that turned him into a Grammy-winning artist. Ari Lennox and J. Cole's "Shea Butter Baby" is the title track of the album that established...

Nineteen tracks from a Birmingham singer with one of the sweetest voices in British reggae — and a second career made possible by two Jamaican legends. Bitty McLean Bitty McLean came into music from the technical side: he worked as a studio engineer in Birmingham, in the orbit of UB40 , before anyone heard him sing. When he did step forward, in the early nineties, he had an immediate run of British hits built on a light, high, extraordinarily clean tenor. The more interesting chapter came later. Rather than settle into the British lovers-rock circuit, McLean went to Jamaica and began working with Sly Dunbar and Robbie Shakespeare — the rhythm section that played on an implausible proportion of the reggae anyone has ever heard — recording at Taxi. Those sessions produced the best work of his career, and they are the reason he is taken seriously by people who otherwise dismiss British reggae entirely. What to listen for The Sly & Robbie material ...

Fourteen tracks from an album that tried to connect Washington DC to Lagos, London and Kingston in one sitting — and largely succeeded. GoldLink: Diaspora (2019) GoldLink came out of the Washington DC area with a sound he called future bounce — hip-hop built on go-go's percussion and on the tempos of UK funky and house rather than on standard boom-bap or trap. That alone made him unusual. Diaspora took the idea further and made it the album's explicit subject. The record's argument is geographic: that the African, Caribbean, British and American branches of the same musical family had become close enough to work as one sound. The guest list is the thesis, and it is why the album holds up better than the singles-driven records released alongside it. What to listen for "Zulu Screams" with Maleek Berry and Bibi Bourelly is the clearest statement of intent — a Nigerian-British producer, a German-born singer, and an American rapper, and it sou...