This post was updated Sept. 28 at 7:49 p.m.
Mariah Carey is here for a fresh set of solid R&B throwbacks on “Here For It All.”
The superstar’s sixteenth album was released Friday, with 11 tracks composing her first LP of original material since 2018’s “Caution.” The 40-minute project – complete with guest appearances from Anderson .Paak, Shenseea, Kehlani and The Clark Sisters – uses its brevity to its advantage with a tight, concise package of slick, mostly midtempo jams. Although the five-time Grammy winner’s legendary vocal range is not as expansive today as earlier in her career, Carey’s unrivaled understanding of melody and glistening rhythmic production remains strong enough to successfully meld nostalgic sounds of the 1970s with contemporary R&B flourishes.
The album was led by the energetic single “Type Dangerous” in June, and the song remains one of the project’s highlights. The track immediately evokes the propulsive club energy of 2005’s electric “It’s Like That,” both through its groovy production and Carey’s fast-paced delivery of confident lines such as “Taking off my coat, clearing my throat/Certified diamond like the songs I wrote.” Even better are the assertive lyrics where Carey puts her encyclopedic vocabulary to full use, such as “I don’t have time for the rigamarole.” The song carries forward the proud tradition of breathy, flirtatious ditties that Carey has excelled at since 1997’s “Honey.”
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Carey’s pairing with Shenseea and Kehlani on the frothy second single “Sugar Sweet” is another high point, as the three artists’ crisp vocals skate over a beat so smooth that it enhances the track’s repetitive chorus. But the finest collaboration is the Anderson .Paak duet “Play This Song,” which features a blend of twinkling chimes and warm keys reminiscent of Victoria Monét’s sublime “JAGUAR II” album. The chemistry between the Silk Sonic member’s vocals and Carey’s luscious lilts leaves the lyrics to play second fiddle, but this is no concern when the song’s rich, luxurious ‘70s vibe is so heavenly.
Carey continues to use her vocal talent to elevate material on “Nothing Is Impossible.” The track should not work at all given its cliché-ridden lyrics, but Carey’s vocal conviction – complete with husky twinges that lean into the more raw, unpredictable tones of her voice – transcends beyond the limitations of insipid lines such as “I overcome it all/Because nothing is impossible.”
Another especially successful vocal performance can be found on the ninth track, where Carey covers Paul McCartney and Wings’ 1973 chart-topper “My Love.” Carey capably transitions the soft rock tune to a gospel-tinged R&B soundscape, embracing the saccharine lyrical elements with passionate, evocative crooning.
The most upbeat track on the record is another standout moment, as Carey glides alongside buttery disco strings and funky bass on “I Won’t Allow It.” The song is not the first time Carey has dabbled in disco – much of the tune’s DNA can be traced back to the delightful 2008 deep cut “I’m That Chick” – but the upbeat number’s infectious cheerfulness is an outstanding fit for Carey’s voice. When she playfully sings “I won’t entertain all your narcissistic ways,” she not only emphasizes her empowerment, but sounds as if she is having tremendous fun.
In other places on the record, Carey’s carefree posturing falls a bit flat. The opening number “Mi” rides a simple beat of claps and snaps, but lyrics such as “I’m a bad bitch, but I’m good company” come across as more cringe-inducing than clever. Another weak spot is the shortest song, “Confetti & Champagne,” which wastes a beat reminiscent of Ariana Grande’s “nasty” on hollow kiss-offs such as “Clink, clink, clink, pow/Look at me now.” Rounding out the LP’s questionable tracks is the woozy midtempo “In Your Feelings,” which would probably be better suited for an artist like SZA and desperately needs a reworking of its disjointed chorus.
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But in spite of these slight misses, “Here For It All” stands as one of Carey’s most consistent releases. The album might not match the no-skip perfection of discography cornerstones such as “Butterfly” and “The Emancipation of Mimi,” nor does it contain the highs of the hit singles from past records such as “Emotions” and “Daydream.” But in its own right, “Here For It All” exceeds expectations for what an album from Carey in 2025 can be.
35 years into her career, Carey must be commended for constructing an LP that manages to simultaneously represent a step forward in her sonic progression while also keeping her changing voice at center stage. The production across the LP is flavorful and bright, but never overwhelms or drowns out the prominence of the vocals in the mix. Carey’s vocal adaptability is one of her greatest assets, and even as her personal instrument evolves in tone and sound, she has once again demonstrated her unparalleled ability to access untapped pockets of her voice. By the time she delivers soaring melismatic runs on the closing title track, the endurance and versatility of Carey’s renowned pipes are indisputable.
As fans get to enjoy the treat of new music from one of music’s most iconic divas, Carey has proven once more that she will forever be the Songbird Supreme.
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