Myles Lloyd - I'm Still Thinking
- Samuel Stevens
- Nov 21
- 3 min read
Myles Lloyd has always made music for the feelers—the ones who replay conversations in their heads, who love a little too hard, and who mistake late-night silence for emotional freefall. On I’m Still Thinking, his fourth and most accomplished album to date, the Montreal R&B artist transforms that spiral of overthinking into something cinematic, intimate, and boldly self-aware. It’s a project that doesn’t just chronicle a mindset—it lives inside one.
Across thirteen tracks, Lloyd expands on the sleek, nocturnal R&B he’s been honing since Goodbye (2019) and Forever, Yours (2022), while delivering the emotional depth that made WHAT MORE CAN I SAY? (2024) a breakout moment. Here, though, he raises the stakes. The production is warmer, the writing is sharper, and the stakes—heartbreak, healing, identity—feel bigger. I’m Still Thinking becomes the sound of a young artist stepping fully into the emotional complexity of adulthood.
Lloyd describes the album as “the space between holding on and letting go,” and that tension runs like electricity through every track. The opening title cut, “I’m Still Thinking,” sets the stage with swirling synths and a confessional tone—a curtain rising on a mind trying to quiet itself.
Up next is the track “Cold,” which slides in with chilled minimalist production driven by an acoustic guitar and an icy falsetto performance that captures the numbness after emotional collapse. It’s Lloyd at his most vulnerable, his voice tiptoeing on the edge of heartbreak. The viral hit “Drive Me Crazy” remains a centrepiece—and rightfully so. The track’s hypnotic beat, featherlight R&B shimmer, and now-iconic falsetto hook earned Lloyd a global audience, a co-sign from K-pop boy band ENHYPEN, and more than twenty million streams before the album even dropped. Placed early in the album's tracklist, the song feels like the moment the album exhales—the calm before the storm of self-reckoning.
“I’mNotTheOneYouWant” is a raw standout, a quietly devastating look at unreciprocated love layered over glossy, early-2000s-inspired production. Whereas the track “Scared” digs deeper into emotional paralysis, while “Voodoo” showcases Lloyd’s pop instincts with one of the album’s most contagious melodies.
But the heart of the record beats strongest on the album's sixth track, “Grapevine.” Despite its swaggering groove, the song is a study in perception versus reality—how rumours, doubts, and insecurities can unravel someone from the inside out. It’s quintessential Lloyd: smooth on the surface, stormy underneath.
Lloyd’s Canadian identity subtly threads through the album, but nowhere more clearly than on the breezy, nostalgic “Are U In MTL?” The track is a melancholic love letter to his hometown and the ghosts attached to it; it feels like driving through familiar streets that no longer mean what they used to.
From there, the album stretches into late-night R&B bliss. “One Thirty” leans into sultry, candle-lit textures backed by simplistic strums of a guitar, while the track “Closer” highlights Lloyd’s knack for minimalist, emotion-first arrangements. However, the track “Do The Most” feels like a track you should listen to on a late-night cruise through the city.
The record closes with “Different,” a quiet moment of acceptance. Rather than ending with triumph, Lloyd chooses reflection—a soft landing instead of a dramatic conclusion. It’s the perfect final note for an album rooted in self-discovery rather than resolution.
At just 27, Myles Lloyd has already carved out a unique lane—one where classic soul sensibilities rub up against futuristic R&B production, and where vulnerability is treated as power, not weakness. With I’m Still Thinking, he doesn’t reinvent himself. He refines, expands, and deepens everything listeners have come to love.
The result is his strongest, most cohesive project yet: a late-night soundtrack for the overthinkers, the romantics, and the ones still learning how to let go.
In an era of disposable trends, Myles Lloyd isn’t chasing moments—he’s building something meant to last. And with I’m Still Thinking, he proves he’s one of the most exciting voices shaping what modern R&B can feel like.
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