Before being able to legally drink, there was always an aura of mystery behind clubbing. Beyond the guardian of the gate, a burly, bald headed man who looks intimidating and like he could probably break 90% of your bones in a few seconds but probably loves nothing more than putting his feet up and watching Gardeners' World, is a world of hedonism and euphoria, driven by various legal (and occasionally illegal) substances and the thumping music you can faintly hear from outside.

Even when you no longer had to borrow your mate's brother's ID, clubbing still seemed magical, completely losing yourself in the music without worrying if anyone's watching you because they're all doing their own thing; magical until you accidentally knock someone's drink who then tries to knock you out in return. But then, quickly, responsibilities take over. Going out every other night like you did at university is no longer feasible; it was OK to turn up to a lecture hungover (or just stay in bed), but you'd rather not have to commute and then do an actual job in that state. Instead, you stick to Friday and Saturdays in the pub, with maybe a few quick drinks here and there during the week. Katy B's Little Red is about this transformation from all night, every night clubber to responsible raver; not losing her touch with the dancefloor but making sure she's home in time to get some good sleep.

2011's On A Mission, Katy B's debut record, was sort of a revelation as it portrayed clubbing and going out in a way that, lyrically, spanned beyond repeating the word "shots", bragging about dropping loads of money on a bottle of champagne (when everyone knows, a bottle of Tesco's Finest is totally OK. It's not like you're hosting a dinner party here!), and partying all night until eventually you pass out from dehydration and wake up to find the party has begun again, trapped in a Groundhog Day loop of partying that just goes on and on. On A Mission, while also seamlessly blending loads of different dance floor genres together, lyrically showed the real 'meat and potatoes' of what clubbing was actually like from someone who actually sounds like they'd been in a club. Katy B hasn't exactly hung up her best clubbing gear, but she isn't finally heading home as we all head to work either. Little Red comes across as a much more mature affair that still has the power to dominate the dancefloor.

"Crying For No Reason" is probably the best example of this; a track that starts like a generic ballad, but then is pushed forward by a pumping rhythm akin to anything you'd find on Pet Shop Boys' latest album into an emotional dancefloor banger about buried emotions eating away inside. The incredible 'Aaliyah', which featured on Katy B's Danger EP makes a return, an utterly hypnotic track featuring Jessie Ware about a girl watching her DJ boyfriend become fascinated with a mysteriously alluring girl in the crowd while also being a tribute to the equally mesmerising R&B star, Aaliyah. 'I Like You' is a tale of falling in love on the dancefloor, with potentially heartbreaking results, all backed by a George FitzGerald dancefloor shaking beat. Disappointingly, there are quite a few misses as well as hits; not necessarily terrible songs but just ones that are pretty forgettable, but the good outweighs the forgettable, with the likes of Sampha coming on board to do what he normally does and blow a track to new heights on 'Play'.

Little Red is an album full of tunes that could easily get a club shaking but that are also packed with emotion and maturity. It's an assured album that utilises everything Katy B has going for her, from her love of clubbing to her BRIT School trained voice which is both bewitching and relatable; the sound of a girl that you would see out on the dancefloor, not tucked away in the VIP area. Dance music with a narrative, and an interesting one at that, it's an album packed with odes to the strobing lights, thumping beats, and sweaty intimacy of a club with the emotional turmoil of a Robyn track that, like Disclosure's Settle, will probably dominate both radio airwaves and every DJ's decks.