…but we’re pretty sure we don’t need this.
[Video][http://pixielott.com/“>Website]
[3.33]
[1]
Pete Baran: The cyclical nature of pop meant that we were probably due a bog-standard happy house pop mash-up, and in its base terms this is pretty successful. There could be a bit more of a thumping bass, the breakdown could be bigger, and while this isn’t a genre that rewards distinctive voices, Pixie’s ultra-bland delivery is nothing to write home about. But it wouldn’t send me off the dancefloor, which is some sort of success from the Fred the Movie co-star.
[6]
Michaela Drapes: Soulless, dead-as-a-doornail party music that broadcasts far and wide (“been working all week”) that this is an anthem for amateurs who confine partying to the weekends. Lott’s the perfect leader for this faction, though, styled as she is in the video in the most unthreatening way possible to resemble a pants-less office girl on a bender.
[2]
Edward Okulicz: Around the Web, the biggest point of discussion about this song is that the promo seems to be focusing on Pixie’s legs. I’d say the marketing people can spot a good thing when it appears before them, and certainly the song hasn’t got much to recommend it. Pixie Lott was boring when she was trying to be soulful, and she’s boring when she tries abandon.
[2]
Iain Mew: The prospect of a new Pixie Lott single was never one that particularly enthused me, and my expectations dropped even further after realising that it was going to be yet another song about the glory of the moment on a night out. So call it it confirmation bias if you like, but this is deeply uninspiring stuff, a bunch of rote lines about how the “night is alive” sung by someone who doesn’t sound engaged with them and coupled to tame dance pop. The only part which raises it above background is the possible subtext that going out and cheating is the way to deal with relationship dissatisfaction.
[3]
Zach Lyon: There’s no denying that, despite her name, Pixie Lott is desperately bland — desperate in the way she sounds like she’s clinging to the song with all her might, bland in that she quite clearly knows that she is redundant and fails to fill even the most minor void. And you can’t deny that the production here is similarly bland, a compendium of every other charting song of the past two years, just like every other charting song of the past year. But, hey, beautiful thing about pop music is that sometimes the combined talent of the contributors has nothing to do with the quality of the song. Catchiness prevails, that chorus is too good.
[6]
Katherine St Asaph: Being American, I lack the “Pixie Lott is a goddamn blight upon everything” milieu some seem to have. That doesn’t make it necessary to hear this “Yeah 3x”/”Dynamite”/”Party Rock Anthem”/”Ridin’ Solo”/”Friday” (it’s the chorus) mashup-by-vacuum-cleaner.
[3]
Brad Shoup: And the winner for Worst Couplet Thus Far is “I bought a new pair of shoes/I’ve got a new attitude”. All the digital fuckery and squickery in the world can’t make Pixie any kind of interesting. The lyrics, though, hold a special fascination; you could play Club Song Bingo with the text. I just got “loud,” “table,” “DJ,” “tonight,” and “rocking”! I win the stop button!
[1]
Alex Ostroff: This starts off as a fairly standard ‘over you’ anthem, and the verses stay mired in the realm of the breakup song. The chorus, though, might be something special. It captures a fragment of Ke$ha’s end-of-the-world dance party mindset. “The night is alive” and is a beast all its own. Everything outside of this temporal moment ceases to exist or matter when you’re in the centre of the storm. “Grab someone if you’re single; grab someone if you’re not,” expresses the Platonic ideal of dance parties: it’s not about the pettiness of the verses; it’s not about getting over your ex, or faking it to prove to them how over it you are; it’s not about meeting someone new or having sex; it’s just about finding a body to move with in the moment, and feeling the groove, and dancing. Shame about the verses.
[6]
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