They’ve got a song called “Whoa Is Me”. Yeah…

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[1.75]

Jer Fairall: Dear Rest Of The World: I am so very, very sorry. Love, Canada.
[1]

Katherine St Asaph: Oh my god, 3OH!3 are spawning.
[2]

Edward Okulicz: It’s difficult to imagine how this song could be any worse. All the elements that make up the most obnoxious music are present and incorrect here: mild drug references and atrocious slang to titillate easily-titilated teenagers; shouting to make people think this is some combination of loud, exciting or dangerous; and a horrible mix of zipping keyboards, dull, numbing riffs and incompetent slap beats too stiff and clumsy to properly dance to. Even a sure-fire bit of ear candy like adding crowd-pleasing “whoa”s to the chorus backfires because they pancake so many of them together that you just wish these damn fools would do some permanent damage to their vocal cords. This, truly, is music for people lacking any kind of discernment or aesthetic consciousness, who think songs that mention “dope” are cool and naughty, and those who make it should be sternly judged.
[0]

Brad Shoup: I’m getting all these extratextual tingles. It’s nice to know that there’s still room on the charts for skewed alt-rock crossovers. From “She Don’t Use Jelly” to “Pumped Up Kicks,” it’s a proud lineage. I’d peg Down With Webster in the OPM/Bad Ronald quadrant: a little bit of groove for the snots who can’t hang with hardcore, but nothing that’s gonna put them in the wrong clique. It’s pretty bad though, I’m not gonna lie. One point added for the sXe chorus; screw or don’t screw, just own it.
[3]

Michaela Drapes: They’re crumbelieveable!
[0]

Alfred Soto: “I’m just bein’ honest/Ain’t that better than a gentleman?” Not really, no. 
[0]

Ian Mathers: These guys have been big with the kids in Canada for a few years now, and they still seem to have no discernable personality (or use for at least half of their six members). Unsurprisingly, then, “She’s Dope” is a pablum-consistency blend of bits taken from elsewhere on the charts. The lyrics are beneath notice, the big “woah-oh-oh-oh”s on the chorus fall flat, the combination of rapping and singing does neither any favours. The only redeeming feature of DWW is that they’re not even distinctive enough to be very painful.
[4]

Zach Lyon: I know I should hate this, but I can’t. It feels like something that would fit in so easily into Modern Rock radio circa 2001, an era I am now snobby enough to declare an “underrated bright spot” of the 00s, and not only because it was all I listened to back then. This at least matches the attitude, the douchiness, the entitlement that drove that sound, and it hits a nostalgia spot for me, and betraying that would mean betraying Deryck Whibley. And I can’t do that.
[4]