Jessie Reyez is moving fast and not letting anything settle. The Grammy-nominated singer-songwriter has announced her fourth studio album, A Little Vengeance, arriving June 12 via FMLY and Island Records.
The announcement lands in the middle of a steady run of releases that have defined her 2026 so far. Most recently, Reyez teamed up with Muni Long on “AIN’T U TIRED?”, a restrained but emotionally heavy collaboration built around soft piano and tightly wound vocals. Before that, “N.Y.F.F.” cut in the opposite direction, sharp and dismissive, leaning into the kind of unfiltered storytelling that has always anchored her work.
Together, the tracks point to what A Little Vengeance is setting up. Not a reset, but a continuation of the tension she’s been working through, balancing vulnerability with something harder underneath it.
That tension has been central to Reyez’s rise. From early breakout “Figures” to more recent projects, she’s built a catalog that doesn’t smooth over emotion or clean up the narrative. Instead, it sits inside it. That approach carried through her 2025 album PAID IN MEMORIES, a sprawling, collaboration-heavy release that pushed her further across genre lines while keeping her voice front and center.
In March, she extended that era with the surprise $TILL PAID EP, a five-track add-on that revisited the project with new energy, including a remix featuring Stormzy. The release followed a sold-out world tour and added another layer to an already dense body of work.

Outside of her own catalog, Reyez continues to move behind the scenes as well, writing for artists like Dua Lipa, Sam Smith, and Kehlani while maintaining a distinct voice in her solo releases. That dual presence has kept her embedded across both pop and R&B without fully belonging to either.
A Little Vengeance arrives with that same refusal to flatten itself into one lane. If the recent singles are any indication, the project is less about resolution and more about pressure building, then breaking at the right moment.
Featured image credit: Philip Harris







