After taking home Best New Artist at the 2024 Grammy Awards, despite more than 10 years into her established career, Victoria Monét had all eyes of the industry on her ahead of her newest single, “SOS (Sex on Sight).” It was likely this recent acclaim that attracted R&B legend Usher to join her in this collaboration. Following his widely admired Super Bowl LVIII performance, Usher wisely returned from his eight year long hibernation by reclaiming the soft R&B vocals that made him a household name throughout the early 2000s. Even the title of his most recent album, Coming Home (2024), alludes to this artistic decision. “SOS” is no deviation, fitting perfectly into the characteristically suave, smooth sound of Monét and Usher’s discographies.
The dreamy, yet sultry production of “SOS” brilliantly encapsulates uncontainable lust using 90s-reminiscent R&B elements, such as its easy-going tempo and familiar Monét-esque bass line throughout the entire track. Monét’s drawn-out chorus line, “I am way too sexy to be alone,” achieves both sensuality and intimacy while also being relatable to a listener (such as myself). Signaling the end of each chorus, trumpets help convey the unapologetically cocky attitude Monét has grown to embrace in recent years. Fans of her EP Jaguar (2020) and debut album Jaguar II (2023) will also recognize the subtle, whimsy synth additions in the backtrack adding a layer of Monét’s signature sound. The looped percussion and wandering synth lines work together to create a novel take on traditional R&B slow jams. Unsurprisingly, these sonics led the track to be named as one of Billboard’s R&B Fresh Picks of the week, despite failing to earn a spot on the Billboard Hot 100.
In a time where male features tend to simply scream beneath 13 layers of autotune, Usher’s smooth countertenor is beyond refreshing to hear. Memorably, Usher yearns to “lick it through the phone,” in his low vocals, heightening the intimacy the track has built upon. The transition from his soft rap verse escalating into impressive riffs is executed perfectly, and provides a perspective of male vulnerability we don’t see in the industry enough. Separating himself from most male rappers, Usher matches Monét’s yearning rather than objectifying her. Additionally, Usher manages to keep up with, and even compliment Monét’s soaring vocals. This duo has found vocal chemistry at a level of excellence mainstream R&B, that veers into the realm of pop music, has not seen since The Weeknd and Ariana Grande’s collaborations, most recently with their remix of “Die For You” (2023). This resemblance is unsurprising as Grande is one of Monét’s long-time collaborators, and she certainly has taken notes from the success Grande has found in these co-ed, vocal-centric projects.
Despite the high technical quality of the record, it sells itself short by its overreliance on the “Sex on Sight” motif. While the title “SOS (Sex on Sight)” has potential as a fun-hearted hyperbole to express sexual longing, its overuse clashes with the mature sound that both Monét and Usher have cultivated, thus undermining this prospect. Unfortunately, and perhaps ironically, it’s the refined nature of Monét’s art that limits her in this way. Among less mature, more playful artists, cheeky references to sexuality have become a goldmine in pop music that few can harness successfully. Artists like Sabrina Carpenter and Tinashe have executed this bit with immense success, with both coining pop-culture slang this past summer. Notably, Tinashe’s R&B-pop single “Nasty Girl” made waves on social media, popularizing the phrase “Is somebody gonna match my freak?,” and Carpenter’s bold and blunt “Nonsense” outros have shot her to TikTok virality. For both, their unserious presence in the music industry allows them a playful freedom that Monét, despite being Best New Artist, unfortunately cannot utilize in the same way.
Overall, while “SOS (Sex on Sight)” is a sonic masterpiece, its lack of resonance with audiences is accounted for by its awkward position as neither a good bedroom jam nor playful pop anthem. Irrespective of its themes, however, the track is proof that Monét and Usher are a match made in musical heaven, and there’s definitely potential for them to continue delivering masterpieces. Although the mark may have been missed on this track, we can certainly hope that this duo will collaborate again to grace us with their impeccable harmonies.
