Top Lists
by Nuance Editorial Team
“Greetings, Nuance Fam! We hope you’re doing well and staying warm. With the new year less than two weeks underway, we thought it would be a good time to share some of our favorite up-and-coming artists set to make waves in 2024. From R&B luminaries to boundary-pushing singer/songwriters to innovative MCs, these artists are breathing new life into their genres as they position themselves to take the next step in their careers this year…”
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Photo Credit: Mark P
Written by: Oliver Heffron
Since bursting onto the scene in the mid-2010s, Brent Faiyaz has proved to be one of the most visionary and influential artists in the emerging alt-R&B scene. Combining late 90s/early 00s influences with cinematic production, Faiyaz has forged a distinct musical world in which his smooth voice plays center stage.
This year has been a big one for the PG County, MD native as he founded his own label and creative agency, ISO Supremacy, in a joint venture deal with United Masters, rumored to be worth over $50 million.
To celebrate Faiyaz’s new debut mixtape, Larger Than Life, NUANCE thought it’d be a great time to look back and rank the R&B visionary’s best 15 tracks in his discography.
While not technically his song, Brent Faiyaz’s velvety hook on Goldlink’s “Crew” takes over the track and turns it into his breakout hit. While R&B hooks on rap songs have mostly fallen out of style, this track is an excellent example of how effective the combination can be.
The first track of his debut EP, A.M. Paradox, “Lovely,” introduces Faiyaz’s cinematic R&B vision with slow-building, detailed intros and outros that create a sleek, hazy world recognizable in later projects. While not as unique as his latest hits, the track displays the Columbia, MD native’s impressive vocal range.
One of the many gems off WASTELAND, “ALL MINE” folds contemporary cloud trap influences into Faiyaz’s distinct style of atmospheric R&B as spacey vocal harmonies surround fuzzy, compressed synths and booming 808s. The track highlights Faiyaz’s gift for writing love that feels real and compelling. The narrator frames his romantic desires as something he knows he may not deserve: “And I know I’ve been the worst / But I’ll love you better.”
A boisterous jam off Faiyaz’s new album Larger Than Life, “Upset” sees Faiyaz catch a hip-shaking vibe over the slick production of UK DJ FELIX before clearing the red-carpet for a verse from Pulse Records signee Tommy Richman that fits like a glove. Displaying his ability to anchor a more upbeat, dance-inspired beat with ease, Faiyaz’s vision on this is hopefully a sign of more to come.
While earlier projects saw Faiyaz channel his love for 90s/00s R&B into tracks that sound straight out of that era, “Last One Left” off Larger Than Life shows how he’s been able to bring those influences into his own sound. Faiyaz’s voice simmers over old-school percussion turned to contemporary trunk-shaking levels before the chorus opens to heavenly harmonies by the iconic Missy Elliot. PG-County MC Lil Gray cleans up the track with a well-placed verse.
Faiyaz is at his best when he creates an atmosphere that accentuates the song’s subject, and it’s hard to find a better example of that than “Addictions” off WASTELAND. The track expresses the intense tightrope walk of addiction through high-strung orchestral plucks and dusty lo-fi percussion as Faiyaz’s vocals whimsically fall down melodic steps and list his vices. In the second verse, PG County MC and Lost Boys co-founder Tre’ Amani delivers the gritty details of not giving a fuck, his flow pummeling the beat.
The standout track on his debut LP, Sonder Son, “Gang Over Luv,” is an early example of how Faiyaz builds textured, unique R&B soundscapes from simple foundations. Starting from just a bouncing percussion groove and vocals, Faiyaz adds one layer after the next until 808s and wah-wah guitars share the same space gracefully. As he narrates his struggle to make it, the sonic tension builds with him like a film score.
True to its cinematic title, “JACKIE BROWN” sees Faiyaz construct a sonic atmosphere that makes it feel like you’re immersed in a moody film score. Massive filtered synth swirls and plucked arpeggiators accentuate pitch-up vocals that slowly rise until the infectious, nocturnal groove kicks in, and Faiyaz’s soothing vocals return to emphatically state: “My old bitch fine like Jackie Brown / I don’t wanna love her, she too down.”
Leaning into his late 90s/early 00s R&B influences, “Talk 2 U” sees Faiyaz gliding like Ne-Yo in 03 over plucked guitar riffs, a slick bassline, and old-school percussion for a romantic throwback jam. While the track leans into its influences and is not the most original composition that Faiyaz has put together, its throwback groove and melody are irresistible.
An instant classic off Larger Than Life, “Outside All Night” sees Faiyaz bring together the iconic A$AP Rocky and up-and-coming singer N3WYRKLA for a collaboration that brings out the best out of all of them. Faiyaz introduces and anchors the track with a smooth, layered hook before stepping aside for N3WYRKLA’s catchy bridge. However, it’s A$AP Rocky who ends up stealing the show, sliding perfectly on the beat and delivering his best feature in recent memory.
Staying true to his namesake, “Clouded” sees Faiyaz soar over airy, filtered key and choir samples that float towards the top of the mix and allow the vocals to take center stage. Anxious questioning of whether chasing the dream was worth it (“I gave it all for a fantasy / Is anybody gon’ remember me?”) switches after Faiyaz counts the money spent, then responds to the self-doubt with icy flexes of how far he’s already gone (“I was fuckin’ superstars when I was nineteen”).
On “ROLLING STONE,” an atmospheric deep cut off Faiyaz’s acclaimed sophomore LP, muted synths swirl, saxophone tremolos echo, and detuned guitars shimmer around intimate vocals that give testament to the pros and cons of the fast-life. The soothing harmony in the chorus and hair-raising falsetto in the second verse display how Faiyaz’s voice turns a vibe into a dynamic song.
Orchestrating a West Coast, Alt-R&B jam that sounds like it could have easily ended up on Call Me If You Get Lost or Gemini Rights, “Gravity” synthesizes both with Tyler, the Creator’s luxurious verse and Steve Lacy’s distinct guitar riffs. Faiyaz anchors the track with vocals that glide over the breezy beat produced by LA legend DJ Dahi.
The standout track off the F**k The World EP, “Been Away,” sees Faiyaz at his most triumphant, throwing on his R&B superhero cape to soar over the hypnotic, grand beat and deliver a heartfelt dedication to his dream. Playing off the repeated chorus line, “I’m just tryna get my paper straight,” Faiyaz presents his commitment to his craft as a plea to a partner, asking them to hold on and trust his vision. Faiyaz’s voice takes command from the moment it enters the stage with “I know I’ve been away,” matching the massive gravity of the track’s descending baseline in what might be the most powerful vocal performance in his catalog.
A breakout moment and still one of his most popular tracks, “Trust” centers Faiyaz’s dynamic voice with smooth, heartfelt melodies that yearn for trust instead of love. While swooning over a slick bassline and airtight percussion, Faiyaz’s voice fills the track’s space with rhythmic ad-libs, layered harmonies, and impressive falsetto flourishes. While the melodies are romantic, the track’s lyrics complicate the typical serenade by focusing on the fear of trusting someone with your love. As he sings, “You told me I could trust you / And I could really use it,” background vocals float in between to question, “If I tell you, will you use it when I’m low?”
No track better displays Brent Faiyaz’s immense potential and unique musical vision than “DEAD MAN WALKING.” The lead single off his sophomore LP, WASTELAND, is the most ambitious and compelling example of the project’s ambitious vision, creating a textured, awe-inspiring sonic atmosphere through shimmering string undulations and tight orchestral plucks. Stepping into the scene like a slick movie star, Faiyaz confidently takes control from the jump, showing off his effortless vocal talent without losing a cool demeanor while painting a visceral, tantalizing portrait of life as “A young stunner till I D-I-E.” While it could have held up with the orchestration and vocals, the track goes to another level once the massive retro drums kick in halfway through like flashing lights igniting the dark, moody scene. Fading slowly into the night on the outro as the textured sounds fall away, “DEAD MAN WALKING” creates a vivid world in just over four minutes.
Photo Credit: Mark P
