There’s something telling about the fact that Jeremih taught himself to drum before he ever learned to sing. Over the course of Late Nights: The Album, the underrated Chicago artist’s voice almost fills in the spaces left by the minimal production. Sleek vocals dart in and out of the mix – but more often than not these sounds are over be- fore they’ve started, like a sneeze being restrained – perfectly on beat and carefully woven into the skeletal production.

This is the minimal breed of metrical, flickering RnB that Jeremih introduced us to on the Late Nights mixtape in 2012. Three years on and, following multiple delays, this full-length sequel is everything we dreamed of. The only downside of Late Nights: The Album is that Jeremih sounds 24 months late to his own party. Def Jam’s grave mishandling of his career left a two-year playing field wide open for contemporaries to bite his style. Even though this record proves who does it best, it doesn’t sound like an instant classic which it might have done fresh off the back of the mixtape.

Even so, Oui and Drank are simply irresistible records – their less-is-more formula allows Jeremih’s sharp hooks to flourish and unfurl. Every time a high profile guest jumps on the track, they’re nearly always upstaged by the headline act. Jeremih really is master of his domain on this record, and nothing shows his skill quite like closer Paradise – a waltzing ode to mornings after.

Aside from an unforgivably moronic guest verse from J Cole – a source of online mockery throughout 2015 – on the otherwise scintillating single Planez and the frustrating fact that the album’s postponed release date has left it sounding a little dated, Late Nights: The Album is the statement Jeremih always had in him. Well worth the wait.