Jeremih built his career on standalone R&B singles built around the hook and the vocal run more than the song around them - "Birthday Sex," "Down on Me," "Don't Tell 'Em" - making him one of the 2010s' most sampled and remixed voices in Chicago R&B. A self-taught multi-instrumentalist who started on drums at age three and cut his teeth in his high school's marching and Latin jazz bands, he writes and plays much of his own material rather than working purely as a topline vocalist. His run of Late Nights mixtapes and steady stream of guest hooks for rappers kept him a fixture of mainstream hip-hop and R&B well past his 2009 commercial peak.
Jeremih has named Kelly directly as the Chicago pioneer he grew up on: "R. Kelly is one of the pioneers that I grew up listening to. If he's classified as an R&B artist, then I want to be like that." He's also drawn the specific parallel that both are self-contained musicians who write, produce, and play their own instruments - drums, sax, piano - rather than just topline over someone else's track.
listen forThe plush, slow-grinding tempo and unhurried sexual candor Kelly popularized on "Bump N' Grind" - the blueprint Jeremih worked from on his own flirtation-into-bedroom singles.
Jeremih has named Michael Jackson among the handful of artists - alongside Stevie Wonder and R. Kelly - he calls his "biggest influences," describing their catalogs as "timeless" and the artists themselves as "true musician-artists," a framing that lines up with his own self-taught, plays-everything background. No interview ties a specific Jeremih record to Jackson song-for-song, so treat this as a stated general influence rather than a documented sonic lift.
listen forThe bright, groove-forward falsetto and clipped rhythmic phrasing Jackson perfected on "Off the Wall" echoes in the featherweight, dance-adjacent side of Jeremih's catalog.
Wonder is the third name Jeremih lists among his "biggest influences." The connection tracks with Jeremih's own background as a self-taught multi-instrumentalist - drums at age three, later keys, saxophone, and percussion - in the mold of Wonder's own write-it-play-it-produce-it musicianship, though Jeremih hasn't pointed to a specific Wonder song or era in interviews.
listen forThe syncopated, clavinet-driven groove Wonder built "Superstition" around - a feel that surfaces in the keyboard-forward, percussive backbone of Jeremih's own productions.