Victoria Monét’s ‘Frequency of Love’: All 22 Tracks Ranked

The Grammy-winning R&B star's long-awaited sophomore studio album is here. See how Billboard ranks each track on Frequency of Love. 10/2/2026 Victoria Monét Jacob Webster It’s been three years since Victoria Monét danced her way into America’s hearts and the Grammy stage with her delightfully funky debut studio album Jaguar II — now, she’s ready to fully step into her next era. Frequency of Love, Monét’s sophomore studio album, arrived Oct. 2 via Lovett Music and RCA Records, featuring collaborations with SZA, Bruno Mars, Bryson Tiller, Leon Thomas, Chlöe, Lucky Daye and her five-year-old daughter Hazel Monét. Reuniting with longtime producer D’Mile, Monét has delivered a stellar sophomore studio album; across 22 shimmering tracks that swell with sweeping strings and pulsating synths, the 37-year-old explores the ebbs and flows of love in sexual, familial, and even supernatural contexts. From echoes of house music to the guiding light of gospel, Frequency of Love doubles as a starry-eyed love letter to the breadth of Black music — with R&B remaining its unshakeable core. Notably, Frequency of Love moves away from the brassy, horn-forward approach to ’70s-nodding R&B that dominated Monét’s Jaguar era. She signaled that sonic shift with lead single “Let Me,” which topped Adult R&B Airplay for three weeks, and “Reach Out,” which built on the Kaytranada-helmed production of 2024’s “Alright.” As expected, both songs feel much more vibrant in the Frequency’s full context — and that’s a testament to the lush world Monét and D’Mile built via their intentional sequencing. The flirtatious, Bryson Tiller-assisted “Single” smartly flows into the come-hither pulses of “Reach Out,” and her musings of love lost in the SZA-featuring “See You In My Dreams” morph nicely into the wedding vow energy of her swooning “That’s Why I Love You” duet with Bruno Mars. Frequency of Love, despite its slightly overblown length, scoffs at the very idea of a sophomore slump; this is how you follow up a three-time Grammy-winning breakthrough record. One of R&B’s sharpest students, Monét intentionally grounds Frequency in the context of the love-minded songs that came before it. From Brandy’s “Almost Doesn’t Count” and Dru Hill’s “In My Bed” to Joe’s “All the Things (Your Man Won’t Do)” and Bruno Lauzi’s “Ritornerai,” Frequency is in constant conversation with both history and the zeitgeist, making it a rare contemporary record that feels both instantly timeless and incredibly of-the-moment. We’re in an era that sneers at earnest displays of love, and Frequency fights that head-on with a soundscape that mines Black music — literally everything from gospel to Motown to house — to explore the multitudes of love and its merits as not just a shared experience, but also as an approach to life. Now that she’s wrapped her stint as opener for Bruno Mars’ stadium-conquering Romantic Tour — which she joined just a month after graduating from culinary school — Monét is gearing up for her own headlining trek. The Frequency of Love Tour will commence at Raleigh’s Red Hat Amphitheater on Oct. 27, visiting major North American cities like New York, Toronto and Nashville, before concluding at San Francisco’s Bill Graham Civic Auditorium on Dec. 17. Here’s how Billboard ranks every track on Frequency of Love, Victoria Monét’s sophomore studio album, from worst to best. “Care For Somebody (Interlude)” Whimsical strings straight from The Sound of Music family tree anchor this interlude, which finds Victoria crooning that community is intrinsic to human nature. “Single” (feat. Bryson Tiller) “Persuasion,” the last link-up between Victoria and Bryson, was a standout from the latter’s 2024 self-titled album, but this new collaboration doesn’t match that bar. Victoria first teased “Single” during a stop at Hot 97, and its summery hook still sounds just as flat. Between an uncharacteristically plodding melody and dated, uninteresting production, “Single” isn’t the best showcase for either artist. “Dark Side of the Moon (Interlude)” Victoria goes intergalactic for this interlude, delivering a strikingly contemplative cut that captures the feeling of waiting for your lover to arrive at an understanding that you’ve already clocked as inevitable. “I Want You (Interlude)” The album’s penultimate interlude, this hazy offshoot of “I Want You” reimagines pieces of The Beatles’ “Michelle,” focusing on the “I love you” refrain and closing with a particularly languid delivery of: “I will say the only words I know that you’ll understand/ Until I do, I’m hoping you will know what I mean.” “All I Need” A lush intro, led by regal keys and reverb-drenched horns that feel like a final callback to the world of Jaguar, “All I Need” sets a sumptuous tone for Frequency of Love. “You tune me to the frequency of love/ You’re all I need,” she coos, her voice fluttering to the uppermost reaches of her falsetto. “Money (Interlude)” Did you even drop a mid-2020s album if there isn’t a country-adjacent song on the tracklist? In this interlude, Victoria utilizes a darker, femme fatale-esque tone to assume a character whose one true love is money. Truthfully, the contextual specifics of this narrative choice are the business of the surrounding tracks. But this is a different, haunting sound that Victoria would do well to explore further in the future. “Juicy” The beguiling funk of “Jaguar” made the title track a fan-favorite last era, so it’s only natural that Victoria mined those same grounds for “Juicy,” a solid cut that features contributions from D’Mile, Babyface and Michaël Brun. It’s a solid closer to the album’s romance-focused section, if not one of the less immediately arresting offerings. “Say Dat” “Say Dat” serves up the first sliver of spice after a string of smooth and sweet opening numbers. Over a sparse, snap-laden beat that pushes the album several decades forward, Victoria begs her lover to verbalize just how much they want, love, need and miss her. “Let me know so I can take this body off ice/ Let me know your ETA, so our time aligns,” she sign-chants in a sultry, staccato delivery in the hook. “Head to Toe” Beginning with a pitched-up sample of Joe’s “All the Things (Your Man Won’t Do),” this Camper-helmed track flips the romantic lens of the 1996 hit to a sexual one, with Victoria requesting to be eaten from “head to toe.” “Know we got a date for tonight around 8/ But I ain’t really tryna eat, no, I’m tryna get ate,” she sings in the pre-chorus, effortlessly dismantling the classic date night concept and rearranging it into a bedroom invitation. “Forget that Wagyu, this body high-stakes/ And, plus I got plate full of cake.” “Maybe” (feat. Lucky Daye) Victoria and Lucky last teamed up in 2023 for the weed-hailing “Smoke,” and they couldn’t have reunited in a more different space with “Maybe.” Understandably, after spending the first half of the album in the driver’s seat of various love-centric dynamics, Victoria is asking her partner to take some action, be direct, and claim her. If they’re gonna do more than just date, she needs them to express that in explicit terms. Both artists sound great here, but their vocal chemistry on “Smoke” is nowhere to be found on “Maybe,” leaving a bit to be desired. But all’s forgiven once they sing, “I ain’t nobody’s maybe/ I know I’m somebody’s baby.” “No Love Like Yours (Interlude)” For the final Frequency of Love interlude, Victoria takes things back to where it all began for R&B: church. Sanctified piano and a rousing backing choir help her belt out, “There is no love like yours,” as the album momentarily shifts into an exaltation of love for and from a higher power. “For You” Victoria closes Frequency of Love with a truly universal love song — one that could be dedicated to herself, her daughter, her Creator or all three and then some. “For you, I share the cup of love that overflows/ And anyone who knows us knows that I would change my thoughts for you,” she croons, throwing out the kind of sweeping declarations of devotion that the social media age has poisoned with irony. Love is truly a frequency we all should be striving to operate on, and “For You” is a valiant, ultimately fruitful, attempt to commit that frequency to record. “Let Me” “Let Me” may have been fairly divisive among listeners when it first arrived around Valentine’s Day, but the lush ballad persevered, eventually spending three weeks atop Adult R&B Airplay and tying “On My Mama” as her longest-running leader on the chart. The lush, sultry ballad is much stronger when placed in the full context of Frequency of Love. After choosing not to lose herself in pursuit of love, she’s ready to offer a healed, present version of herself to a partner who truly deserves it. It also helps that “Let Me” works better as a segue to the album’s slower, closing section than as a downtempo lead single for a highly anticipated sophomore album. “Come Back to You” In the first full-length song on Frequency of Love, delicate piano introduces a sugary-sweet amalgam of wailing guitars, soulful percussion and glimmering chimes. Before Victoria starts singing, a snippet of a conversation, seemingly between her and her daughter Hazel and consisting of a single phrase, plays: “I miss you.” By repeating that phrase back to her daughter, Victoria doesn’t just offer validation, but she also underscores their soul-deep connection. That dynamic is the crux of “Come Back to You,” a smooth midtempo that stresses the virtue of loving from a place of faith — and promising to always prioritize that bond no matter what tries to get in the way. “Reach Out” “Reach Out” was the second single from Frequency of Love, and it’s no surprise that it’s currently shooting up the Adult R&B (No. 17) and Rhythmic (No. 24) Airplay charts. This D’Mile & Kaytranada-produced, house-inflected rework of The Eight Minutes’ “Take My Love Don’t Set Me Free” is a straight-up banger. Victoria’s tone here has so much warmth and brightness, which really helps underline the lyrical theme of surrendering to love. And once you’ve seen that sleek, stylish music video — you simply can’t get it out of your head. “I Want You” Continuing Frequency’s theme of incorporating bits of older songs that preview the lyrical, thematic and/ melodic adventure to come, the sexy “I Want You” begins with a snippet of Dru Hill’s classic “In My Bed.” “Somebody’s sleeping in my bed/ But I can’t help that I want you,” she divulges in the chorus. Where Sisqó wrestled with the possibility of his girl cheating on him behind his back, Victoria can’t shake her desire for someone other than the person sleeping next to her in bed. Swanky bass is the anchor here, but Victoria’s winking, tongue-in-cheek, yet still earnest delivery is the magnet. “That’s Why I Love You” (feat. Bruno Mars) With a snippet of Bruno Lauzi’s 1963 bolero hit “Ritornerai” kicking things off, it’s hard to shake the feeling that this Victoria Monét-Bruno Mars duet may have been conceived for the latter’s Billboard 200-topping The Romantic LP. Regardless, “That’s Why I Love You” is a fine duet — and an even finer love song. “You drive me crazy, best chauffeur in the world/ Not much can shake me, you know I’m a California girl,” Victoria opens her verse, delivering more of her signature wordplay and crooning of love that’s steadfast in its commitment and devotion. Even outside of the gorgeous orchestral arrangement, this duet is a true full-circle moment for those who remember Victoria positioning her “Jaguar” music video as an “audition tape” for a then-unannounced Silk Sonic world tour. (And, of course, Victoria, Bruno & Anderson hit the road together for this year’s stadium-rocking Romantic Tour.) By the time Bruno sweeps in and they sweetly harmonize in the chorus — “Till we’re silver and old/ You never let me dance alone/ Baby, that’s why I love you” — this duet positions itself as the kind of generational love tune that Bruno has made his bread and butter. Predictable and expected? Yeah, probably. But at some point, you gotta put the cynicism down — and “That’s Why I Love You” is a damn good invitation to do so. “You Hurt Me Too” Victoria has always been a gifted textural technician who truly understands that every individual element chiefly serves the result of the whole. Maybe her recent culinary schools sharpened those senses even further, but she showed out on Frequency of Love — particularly with the addition of this trip-hop-meets-tango number. Spanish guitar in R&B is back, baby! “You Hurt Me Too” is the first real moment of darkness on Frequency; its title clearly indicates that rosier fields of love are not this song’s domain. Instead, Victoria delivers a steely vocal performance simmering with grief, hurt and betrayal — all cradled by an undercurrent of hope sourced from the boundless possibilities of love after loss. “Oh it’s such a shame, all these ladies can relate/ Marble floors, ceramic plates, how it sounds when a heart breaks/ To this day ain’t nothing changed, ’cause we see they still out here doing the same damn thing,” she snarls in the outro. “Lose Myself” (feat. Chlöe) Between the Honey Dijon-helmed “The Nightlife,” select cuts from her Timbaland-assisted Resurrection mixtape and her recent “Company” collaboration with Clean Bandit and Omah Lay, Chlöe has truly hit her stride with a dance-focused, tempo-embracing approach to R&B. That sonic bag intersects nicely with Victoria’s visits to the dancefloor (“Alright,” “Experience”), which makes “Lose Myself” one of the best tracks on Frequency of Love. These two ladies are vocal sisters, with Chloe’s smokier tone adding a gorgeous textural contrast to Victoria’s feathery timbre. “I would have to lose myself to find you,” they repeat in the pre-chorus before launching into a breakdown comprised entirely of ethereal vocal riffs. Once they harmonize “Chemistry was real/ But you know fate don’t care how we feel” over the tastefully restrained, Afrohouse-nodding beat, “Lose Myself” successfully makes its case to soundtrack your next pre-game or workout session. “Almost” “I want to cum tonight/ If it’s really ladies first, let me cum first tonight,” Victoria challenges at the very beginning of this standout. Now that’s an opening couplet Janet Jackson would be proud of! Just when this sweltering, opulent bedroom jam starts to feel predictable, Victoria flips the script with her witty pen, cheekily singing, “I almost came/ So loud/ But everybody knows that almost doesn’t count” — and, yes, she interpolates Brandy’s same-named classic when she hits that phrase. “You Mean the World to Me” (feat. Leon Thomas & Hazel Monét) At the 2024 Grammys, then-two-year-old Hazel Monét became the youngest nominee in the ceremony’s history thanks to her feature on her mother’s Earth, Wind & Fire-assisted “Hollywood,” which picked up a nod for best traditional R&B performance. With her heartwarming and surprisingly melodious appearance near the end of this Leon Thomas-featuring number, Hazel may be back at the 2028 Grammys. Over spacious, doo-wop-inflected production, the trio sing, “You mean the world to me/ That’s why I try to save the world,” a heart-swelling reminder of the astronomical heights love can scale when it’s fully realized. By the time Hazel joins in for the final chorus, “You Mean the World” morphs into a universal anthem for parents, underscoring the album’s vast understanding of love. This is a gorgeous duet — and a real treat for fans of 2023’s “Breaking Point” remix. “See You in My Dreams” (feat. SZA) Victoria and SZA are two of the biggest women in R&B, so it’s about time they finally joined forces for a collaboration. Over chugging bass guitar that quickly morphs into a boom-bap beat reminiscent of “Kill Bill,” the two Grammy-winning crossover stars coo of a love so powerful it transcends the physical realm. The catch is here is that this is a love that never got the chance to come to fruition; “I slept on you so hard/ I still see you in my dreams,” they harmonize in the hook. If there’s a surefire hit on Frequency of Love, it’s this one — and any conversation about the great singer-songwriters of the mid-late 2010s and 2020s that doesn’t include Victoria or SZA isn’t one worth having. 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