The One of One: D'Angelo
Born in 1974 in Richmond, Virginia, D’Angelo grew up in a family deeply rooted in gospel music, which would remain the backbone of his artistry. From an early age, he learned piano and began composing his first songs, drawing inspiration from gospel, funk, and 1970s soul.
In 1994, at just 20 years old, he first gained widespread attention with the collective Black Men United on the song U Will Know, a collaboration that brought together some of the era’s biggest male R&B voices for the Jason’s Lyric film soundtrack.
Shortly after, he signed with EMI. At a time when R&B was dominated by new jack swing (Teddy Riley, Bobby Brown) and chart-tailored harmonies (Boyz II Men, Mariah Carey), his more organic and spiritual approach immediately stood out.
BROWN SUGAR, 1995
When Brown Sugar was released in 1995, D’Angelo didn’t just deliver a debut album — he redefined the contours of R&B.
At a time when the genre favored uptempo formats and chart-ready hooks, he introduced a slower, more sensual pace. His music breathes. Silence matters as much as sound. From the very first notes of the title track, it’s clear: Brown Sugar is an album driven by feeling rather than effect.
With Lady, he further confirms his mastery of restrained sensuality — a sophisticated slow jam that feels both intimate and universal. And on his cover of Smokey Robinson’s Cruisin’, he doesn’t aim for comparison; he reinhabits a soul classic, as if to remind us where he comes from and where he intends to go.
Critics immediately recognized it as a breath of fresh air. But it is with time that Brown Sugar reveals its full value: a foundational neo-soul classic, certified platinum, admired as much for its authenticity as for the depth of its legacy.
VODOO, 2000
Five years after Brown Sugar, D’Angelo returns with Voodoo, delivering an album that pushes every boundary.
Extended grooves, rhythms deconstructed by Questlove, textures shaped by J Dilla, and raw sensuality on Untitled (How Does It Feel) — the album breathes freedom and experimentation.
Around him, R&B and hip-hop are experiencing an unprecedented creative surge. Lauryn Hill has just made history with The Miseducation, Outkast is shaking up the rules with Stankonia, and Timbaland is imposing a futuristic aesthetic alongside Missy Elliott and Aaliyah.
Other projects are also reclaiming space for vulnerability and intimacy: Mama’s Gun by Erykah Badu and Like Water for Chocolate by Common, both rooted in the Soulquarians scene.
Amid this creative explosion, Voodoo charts its own path. And that may be what makes it his masterpiece: radical and timeless, it earned D’Angelo his first Grammy for Best R&B Album.
BLACK MESSIAH, 2014
Fourteen years after Voodoo, D’Angelo returns where no one was expecting him. Initially slated for 2015, Black Messiahis ultimately released in December 2014, in a climate marked by the death of Michael Brown in Ferguson and protests against police violence. This is no longer just a musical comeback — it is a political statement.
The title, Black Messiah, points to a collective idea: not an individual “messiah,” but a force embodied by a people. In the liner notes, D’Angelo stresses that anyone can be a “Black Messiah” as long as they stand up for what is right.
Musically, the album is dense: distorted guitars, vocals sometimes deliberately blurred. Between the political weight of The Charade or 1000 Deaths and the sensuality of Really Love, crowned with a Grammy, Black Messiah reveals the full scope of D’Angelo’s artistry.
With Black Messiah, D’Angelo proves one last time that he is not merely a musician, but an artistic and spiritual compass. A body of work that closes his trilogy while leaving a lasting imprint on those who follow.
THE ONE OF ONE
D’Angelo reinvented R&B by infusing it with funk, soul, and jazz, carried by a sensuality and a spirituality that had never quite resonated this way before.
He profoundly influenced Lauryn Hill, Erykah Badu, Frank Ocean, Anderson .Paak, H.E.R., Giveon, and many others who continue to extend this blend of emotion and innovation. His distinctive “backbeat” is now a benchmark across contemporary R&B.
Miguel sums up his impact perfectly: “there will never be another D’Angelo… he’s one of one.”
His songs, covered by artists all the way up to Beyoncé, have become a true part of the genre’s heritage.
D’Angelo remains the blueprint and continues to inspire the voices of tomorrow