Fresh off his Brits triumph, it’s our third-highest score of the year, I think…

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[6.86]

Edward Okulicz: I really hoped this might be a cover of the Right Said Fred song where they were gay for Sonic the Hedgehog. Instead, it’s actually a lot more video game-sounding, though the grainy strings are a nice touch. I’m not sure if Ellie Goulding was what this needed in the choruses but she doesn’t spoil the fun.
[8]

Doug Robertson: There still seems to be this desperate attempt to convince the world – well, Britain – that Ellie Goulding somehow matters and really should be doing this as a career. Still, she doesn’t ruin this track, even if she doesn’t exactly add anything to it either. Not that Tinie himself is exactly bringing much to the table.
[5]

Alfred Soto: This Dizzee-after-therapy’s verses surpass the purely decorative hook for which he indentures Goulding. He gives every indication of becoming insufferable though.
[6]

Martin Skidmore: This doesn’t excite me – I’ve never been quite hooked by Tinie’s vocal style, much as his rhymes amuse, and Ellie sounds too weak and processed. The Labrinth production is medium-paced electro, but nothing here really hits with any force or energy.
[5]

Iain Mew: Compared to their last singles (“Invincible” and “Your Song”), this is possibly the best song ever. Even without that flattering context, it’s still great fun, with Ellie back to something like the intriguingly mixed up presence of “Under the Sheets”, Tinie doing a great job of treading the line between messianic and self-doubting, and some old school video game music to string it all together. I like the knowingly preposterous video, too.
[8]

Kat Stevens: As I’ve been getting to know Disc-overy, I’ve become very fond of this track, especially the chords whipping their hair back and forth in all directions. This is why I was EXCEEDINGLY TROUBLED the other day to realise where I knew those twisty turny chords from – a terrible, terrible place. It was the familiar sharp-stringed intro stabs that gave it away, poking me in the ribs before surging up into 8-bit Marioland mush. I’m reluctant to tell you the dreaded source, in case I immediately spoil “Wonderman” for you before you’ve even heard it. I’ll give you a hint. It’s on Now 26.
[8]

Pete Baran: I love epic sounding voiceovers, and this is just a wonderful way to kick of a really cinematic sounding Tinie Tempah track. The confidence in grime rap these days means placing your UK references up front and central, with a full tank of petrol. Of course there is going to be post-success navel-gazing, but Tinie has the instinct to go for the stadium bounce. The parallel existence of a self contained UK female pop explosion has made this kind of collaboration ten-a-penny, but even when the En Vogue guitars come out this feels like a remarkably modern distillation of where British pop is at right now, in a good way.
[8]