The Singles Jukebox

Yes!

[Video][Website]
[6.71]

Jonathan Bogart: My Twitter bio for the past couple months has included the words “grown man in my suit and tie.” I’ve been in the tank since the album was released. It’s nice in here.
[9]

Micha Cavaseno: Here we find Jeremih in the peak form that he demonstrated years ago and didn’t get to make as a breakout single for a while, instead wasting time trying to fit every other trend (to greater and lesser results). It’s fascinating that when you think of the morose and murky Drakk impersonators cluttering airwaves how Jeremih is so spritely. ‘Oui’ is straightforward and earnest in a sea of self-loathing, a standout amid his experiments by giving joy and hope to stressed listeners.
[7]

Crystal Leww: This is the level of vibe and sexiness that Justin Timberlake was trying to go for, right?
[7]

Thomas Inskeep: Jeremih: the poor man’s Miguel, willing to make the cravenly commercial records that Miguel won’t. This isn’t bad by any means but not particularly special, even with the Shai quote. And I can only imagine he titled it “Oui” (wink wink) after the hardcore porn magazine.
[5]

Alfred Soto: No contemporary R&B singer has squandered his talents in the last eighteen months on useless guest appearances like this drummer by training, and if his record label woes are true I suppose he’s gotta remain in the public eye. The excellence of Late Nights surprised me, woeful appearances by J. Cole and YG aside. Elongating verse syllables doesn’t become him, but grunts do. So does harmonizing with himself.
[7]

Cassy Gress: Sometimes when I listen to a song, if I have had my brain busy with something not-music for a while, my brain forgets how music works and until it remembers (usually within a minute or so), music is essentially a bunch of disconnected incoherent sounds.  That happened the first time I listened to this, and the first 30 seconds  was painful. It sounded like someone restarting a song over and over and not getting the notes right. With my brain in proper working order, it doesn’t quite sound like that, but it’s… not great. At first I thought the piano glissandos pretty, but after a while it’s like hammers bashing my head. There’s a pre-chorus bit where the beat changes and he gets mumbly and all I can picture is his mouth flopping around, but the note he hits on “maybe if weeeeee” is a pretty nice note.
[5]

Brad Shoup: The hook “there’s no we without you and I” is beyond trite, but not so those aw yeahs. He haws against those harplike piano plucks: also effective. He settles into a reverie, sighing out a window about a suit. The track feels improvisational — especially when he settles into a throwback minor mode on the bridge — but the best compliments come off the cuff.
[7]