Now the subject of a major lawsuit.

[Video][Website]
[4.50]

Edward Okulicz: Listening to this alongside the song she’s being sued for pre-empting, “Fade Into Darkness,” I can’t answer which one is better, I can only ask why either bothered. The verses of “Collide” could stand on their own merits — Lewis is warm and strong — but the chorus, ironically, doesn’t have any impact at all.
[4]

Mallory O’Donnell: If this is the sound of a crash, it’s one far more Dave Matthews than Jim Ballard. And as dramatic as this is trying to be, it’s a rather thin, bored-sounding form of drama, moving from piano recital to nightclub to bedroom without a shred of energy or enthusiasm. Minus an extra point for Ms. Lewis’ previous success which still offends deeply everytime you step into the CVS.
[2]

Alfred Soto: Three years after “Bleeding Love,” she’s got more damp innards to show us, except she has no innards, and neither does her song. What’s it about? What is she doing besides offering Sarah McLachlan piano tinkle?
[2]

Brad Shoup: If this is the kind of dance track Lewis and her people have been casting about for… well, it’s a shame, is all. It’s a sparkly power ballad in the Katy Perry mode, complete with stilted syntax and discothèque clodding. The bit where she multi-tracked the phrase “you are the one, yeah” in a lower register tantalizes with the prospect of a technically unimpeachable pop record sung in Hopelandish. Next album, then.
[4]

Michaela Drapes: For something so paint-by-numbers, this upside-down melismatic mess is so strangely constructed that it’s mildly disorienting. Leona’s not bad as a house diva, really, but mostly I’m horrified that the tinny distillation of The Penguin Cafe Orchestra’s “Perpetuum Mobile” running through the track is actually another one of those frustratingly banal sample-of-a-sample moments.
[3]

Katherine St Asaph: Leona half-belts as if Simon’s blackmailed her not to outsing her X Factor successors or else she gets the Cheryl Cole stick, and the track has anti-skid brakes, suction cups and Brillo-paved roads applied to prevent any collision. When Pia Toscano’s debut is more exciting than yours, that’s not a good sign.
[4]

Jonathan Bogart: Not sure I can explain why I like this so much. Something about how it’s the kind of hyper-dramatic stately self-important blowout that Céline Dion should be singing, but isn’t. Anymore.
[7]

Hazel Robinson: This is a fantastic first two minutes of a ruddy colossal Freemasons extended mix that spills and glides blissfully on, with neither chorus nor verse nor, err, lyrics until at the end I am left roaring into the void WHERE IS THE FUCKING SONG?
[6]

Kat Stevens: Leona is in great form, powerful lungs a-belting and big hair blowing back from the wind machine. I hope she sticks to covering dance tunes from now on as I’d love to hear her tackle something equally boshing but with more than two notes in the chorus. How about “Let Me Be Yr Fantasy”? 
[7]

Zach Lyon: The words are absolute drivel, and the song sort of plods along without any grasp of its own structure. But it’s hard to reject Leona’s pure Killing It of the chorus and the production’s bright blue flightiness. Would’ve been better if they had just tweaked a few lyrics around and made it a cover of the Dave Matthews song.
[6]