The Singles Jukebox

But where are the songs repping for the coarse girls?

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[5.43]

Katherine St Asaph: SNL was prescient: what nu-dancehall needed all along was more synth cowbell.
[7]

Iain Mew: Zie Zie shows an awareness that the core of the song is not offering much new at this point, and throws a lot at it to address that: Lingala, French, a Fetty Wap impression. He succeeds on both dynamism and charm fronts.
[7]

Tim de Reuse: A tropically dull beat, a vocalist grasping for a distinctive style and failing to come up with anything in particular — a two-minute snooze. Wait, holy shit — is he rhyming “mamacita” with “come take a seat-ah” in the hook? God, I wish I had that kind of confidence.
[3]

Micha Cavaseno: Give me seas of monochrome UK Drill piano fills. Provide me with the most smoked out and inane UKR&B. Smother me in Grime Revival Cosplay. Bury me in the various retro house dance nonsense hits of the day. Just anything to spare me from the realm of generic afroswing that is rotting the charts these days.
[2]

Julian Axelrod: I usually try to be conscious of referencing other artists in my blurbs. Am I really saying anything substantial about the song by rattling off a list of people it evokes? But Zie Zie makes it easy: I wouldn’t have realized his melodic thwack cribs from Chief Keef or his atonal wail echoes Fetty Wap if he hadn’t shouted them out himself. The beat does a lot of the heavy lifting here, with its deep plinks bolstering the boasts while staying light on its feet. Yet even that’s reminiscent of a million other airy British bangers. It’s a nice base for this gumbo of references — not fake, just familiar.
[6]

Edward Okulicz: This confuses by reminding you of various artists, then actually directly referencing them, and then distracts you with fun noises every few seconds or so. Some of these are really, really good noises, and Zie Zie is a likeable and energetic presence. Dumb, but definitely catchy. Whee!
[6]

Jacob Sujin Kuppermann: Referencing Chief Keef on the hook of a song that sounds like everything but early-10s Chicago is a bold move, but as with the rest of the wildly boastful lines on “Fine Girl,” Zie Zie manages to sell it. It helps that he delivers them over an agreeably bouncy beat simple enough to give him the space to luxuriate.
[7]