In 2000, Toni Braxton flipped the script on her signature ballad style with the release of “He Wasn’t Man Enough,” the lead single from her third studio album The Heat. Written and produced by Rodney “Darkchild” Jerkins alongside Fred Jerkins III, LaShawn Daniels, and Harvey Mason Jr., the song delivered an uptempo R&B groove that showcased a sassier, more assertive side of Braxton. The hit peaked at No. 2 on the Billboard Hot 100 and reigned at No. 1 on the Hot R&B/Hip-Hop Songs chart for four weeks, earning Braxton a Grammy Award for Best Female R&B Vocal Performance . The accompanying video, starring Robin Givens and Braxton’s then-husband Keri Lewis, became a pop culture staple, perfectly capturing the song’s message of empowerment and female solidarity. Now, nearly 25 years later, Braxton is bringing that same energy to television. Her upcoming Lifetime film He Wasn’t Man Enough , set to premiere November 22 , is inspired by the very song that solidified her as one of R&B’s fiercest voices. The movie finds Braxton stepping into a leading role and executive producer chair, channeling the confidence and attitude that made the 2000 single an anthem for women everywhere. Just as “He Wasn’t Man Enough” redefined her sound at the turn of the millennium, this new adaptation promises to reintroduce Braxton’s timeless blend of strength, vulnerability, and soul to a whole new generation.

Meet Montreal supergroup Fredy V & The Foundation , led by Senegalese–Cape Verdean artist Fredy V and longtime collaborato Mel Pacifico . Known for their fusion of funk, R&B, Afrobeats, and hip-hop, the collective’s sound thrives on live instrumentation, groove, and storytelling . Their new 8-track album NO TRIBE NO I highlights this vibrant mix, with songs like “ FIND ME ,” a breezy, bossa nova–tinged reflection on saudade, and “ MAKE IT RIGHT ,” a dreamy yet grounded anthem driven by Pacifico’s commanding vocals and fearless emotional clarity.

Chicago rapper Noname returns with “ Hundred Acres ,” her first release since 2023’s Sundial and the lead single from her upcoming project Cartoon Radio. Featuring Devin Morrison and produced by Brandon Cordoba and Greg Paul , the track blends playful lyricism, fluid wordplay, and smooth R&B inflections . Directed by Daren Rabinovitch , the surreal video follows Noname’s transformation into a bird while being chased by a humanoid cat, a vivid metaphor for freedom, creativity, and the boundless imagination that defines her artistry.

Chicago-born, NYC-based artist keiyaA unveils “ k.i.s.s. ,” a dreamy, slow-burning single from her upcoming album hooke’s law via XL Recordings . Co-directed with longtime collaborator Caity Arthur , the video transforms a soap-slicked car wash into a surreal stage where flirtation, movement, and introspection intertwine. Nodding to late ’90s and early ’00s R&B, keiyaA reimagines nostalgia through her signature lens— intimate, self-aware, and emotionally resonant , expanding her world of sound and storytelling.

UK Alt-R&B singer Alysha’s new single “Red Wine” is a darkly hypnotic blend of R&B emotion and trip-hop restraint. Built on minimal, heartbeat-like percussion and smoky, velvety vocals, the track embodies quiet rebellion in a world obsessed with volume. Channeling the dark feminine, Alysha delivers a sultry yet vengeful performance as she reclaims power from a former lover. “Teasing, running in circles around you…” she sings, her voice dripping with danger and desire. “Red Wine” proves that true intensity often whispers instead of roars.

Brent Faiyaz relaunches his ICON era with his soulful new single “have to.,” released through his label ISO Supremacy. Teaming up with longtime collaborators Jonah Roy, Dpat, Tommy Richman, and Andrew Kim, Faiyaz delivers a smooth, old-school R&B groove that blends emotional vulnerability with sensual allure. Lyrically, he’s torn between career demands and his devotion to love, crooning, “If you don’t have to, I’ll do what I have to.” It’s a heartfelt, late-night confession from one of R&B’s coldest hopeless romantics.

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Louisiana rapper Young Bleed , best known for his work with Master P’s No Limit Records , has died at age 51. His eldest son, Ty’Gee Ramon Clifton , confirmed the news in an Instagram Reel, revealing that his father passed away on Saturday, November 1 , after suffering a brain aneurysm. Clifton shared that the rapper had been hospitalized in the ICU for a week following a collapse after performing at a Cash Money vs. No Limit Verzuz event at ComplexCon in Las Vegas. “Let’s keep his legacy alive,” Clifton said in the post. Born Glenn Reed Clifton Jr. in Baton Rouge, Louisiana , Young Bleed began rapping at just nine years old and gained attention in the mid-1990s as a member of the local rap collective Concentration Camp , alongside fellow Louisiana artist C-Loc . His breakout moment came when Master P heard his verse on C-Loc’s “A Fool” and remixed it into the hit “How Ya Do Dat,” featured on the 1997 film I’m Bout It. The song’s success led to a deal with No Limit Records , cementing Young Bleed’s place in Southern rap history. His 1998 debut album, My Balls and My Word , was a commercial hit, selling over half a million copies and topping Billboard’s Hip-Hop/R&B Albums chart. Following the success, he released My Own in 1999 through Priority Records before parting ways with the label. Young Bleed later launched his own imprint, Da’tention Home Records , releasing Vintage in 2002 under the name Young Bleed Carleone . Though he remained largely independent in his later years, Young Bleed’s lyrical storytelling and smooth Southern flow left a lasting mark on Louisiana hip-hop and the legacy of the No Limit era.

Dave reasserts his place at the top of British rap with The Boy Who Played the Harp , his first album in four years and arguably his most introspective yet. Inspired by the biblical story of David soothing King Saul with his harp, the Streatham native turns that metaphor inward, using music as a form of spiritual release and self-reflection. Across ten majestic tracks, Dave explores the weight of fame, the erosion of faith, and the cost of carrying both cultural and personal responsibility. With soul-baring lyricism and divine storytelling, The Boy Who Played the Harp cements his status as a generational voice and visionary.