Syd released her new album Beard, on Friday July 17. This is her third album, and first album since 2022, which is being released through Free Lunch Records, under Warner.

Syd is a singer, audio engineer, producer, and songwriter, who was a member of the seminal hip-hop groups Odd Future and The Internet. Much of Odd Future’s sound is owed to her production, with the group being based out of her home studio. Her sound is a blend of neo-soul and R&B, and her queer and lesbian identities often play a crucial role in her songwriting and the themes present in her songs.

The album’s title, Beard, is a reference to how Syd sees herself in comparison to other women: as more of an outlier. The album strives to push back against normative definitions of femininity. Although the album clocks in at only 40 minutes, there are a few memorable moments, such as Jasmin 17‘s smooth vibe, My Love breaking into bossa nova, GMFU‘s earworm riffs, and Do Better‘s minimalist, upbeat synth energy.

The album begins with a quiet introduction on Walls, with vocals similar to Ari Lennox or Cleo Sol. Though easily overlooked, on closer inspection, the song acts as Syd’s personal invitation to reexamine her as an artist after a long hiatus. It also acts as innuendo, with the chorus asking a lover to let her come inside her walls, meaning both being close to her and evoking sensual imagery.

Callin, one of the lead-up singles, was released on May 29 with a music video and features the vocals of Blu June and production by NOVA WAV. Both vocalists have silky-smooth R&B and neo-soul vocals on the song, and it’s loaded with catchy and hypnotic riffs. The track is structured to be short and replayable, clocking in at 2:43, with only two verse-and-chorus repetitions and one bridge. Thematically, the track plays as a classic R&B song, but with a twist focusing on the female gaze. “I’m callin’ 911 cause I need your love, and you ain’t picking up so I’m coming for your love.”

The aromatic Jasmin 17 is airy, low-key, and elegant all at once, just like the scent by Le Labo. It’s both a memorable love letter to a girl and a danceable Afrobeat song with very smooth and hooky vocals, and its chord progression is very satisfying. Just like a fragrance, with a nice breeze, the song is gone and on to the next.

My Love sits very well next to the earlier song, acting as a more intimate second half. I honestly was very surprised to hear a legitimate bossa nova piece on the album. It’s truly a wholesome love song with a jazz-ballad melody and traditional Brazilian instrumentals, and its chord progression is very beautiful. Combined, these elements create Stevie Wonder-esque summer beach vibes.

Always Be Mine (ft. Jordan Ward) is a neo-soul and gospel track, but Jordan Ward’s solo brings it back to R&B. Though the production may initially feel somewhat like a demo because of the basic tambourine sample, it is very layered and increases in complexity as the song continues. By the end, listeners will be floating. Over bluesy Rhodes stabs and jazzy horns, Syd begs her lover not to leave: “don’t leave my side, don’t you go drawing the line, tell me you’ll always be mine.”

A companion to the track above, Closet, featuring Cube, brings a laid-back and groovy vibe. In its harmonies, vocal doubles, and ensemble R&B performance, it has a feel similar to a contemporary FLO joint. Its duet verse is very typical R&B but has admittedly impressive vocal harmonies and tone. Its bass line is also really crispy and irresistible, giving it a rhythmic feel similar to a Lucky Daye track. Some possible complaints could be about the lyrics not containing much depth, but I personally wish the track were longer.

GMFU is the stronger of the two, while Bad Guys plays more like an R&B B-side or loose bonus track, a bit disconnected from the rest of the album both musically and thematically, even with a pretty cool breakdown and production. Rapper Big Sean is featured, and he was also featured on Sango’s new album. Just like on that album, he really boosts the track, and Raphael Saadiq’s bass playing is a major plus. The production is really good, its four-bar loop is very nice, and the rap verse even mentions a Jet2 holiday. Jokes aside, the flow is nice, and there is simply a lot of care put into the lyrics, with no lines thrown out:

we had some good times we had some bad, you don’t look so cute when you mad

the mind doesn’t know what the heart knows

A surprise synth-pop song, Do Better is a testament to how the whole album leans into minimalist, upbeat R&B, and on this song, it really works. Syd talks about regret with a very uplifting, motivating, and forward-moving sound, and it’s definitely going to be on loop.

The next track Any Time, featuring James Fauntleroy, has production similar to Solange and vocals similar to SZA. It has a nice drunken feel and an interesting lo-fi piano and bass riff that is good for slow dancing. Any Time has an uplifting vibe, talking about losing control and giving in to falling in love. James’ vocals add some really nice harmonies and support, creating a sort of sonic sandwich, with intermittent bass guitar and keys adding nicely to the stack. The processing on his voice, though not to my taste, is very much in line with the new wave of R&B vocal production, devoid of texture and cellophane-smooth.

Water might be one of the album’s less exciting moments. On my first listen, its soothing production and repeated “I can support you” started to drag, especially this far into the record. Listening to it again on its own, I found more warmth in the song and its wholesome message of care and reassurance. It is still pretty predictable and honestly a little boring, though I think its placement within the album makes that problem more noticeable.

Meanwhile, 2 Many Days is very catchy and repeats themes from Water, but it feels like an improved, elevated, and vibier edition. It still falls under the “started from the bottom, now we’re here” trope, though, talking about grinding for a long time. However, between every cliché, Syd inserts her own experience into the formula.

Overall, Beard is a polished R&B album shaped by interesting production choices and Syd’s unmistakable personal touch. Compared with some of her earlier work and collaborations, it stays in a more comfortable lane and does not explore quite as deeply, though the record still has several songs worth returning to.

The production also makes it an easy summer listen. Its warmth works best when you are already in the mood for something light and relaxed. Rather than completely changing your mood, Beard settles into the one you already have and gives it a little more color.

The Beard Tour is going through the UK this year, starting at the end of August 2026.

Blog Date: Jul 24, 2026