Thursday, September 20th, 2018

Jason Derulo x David Guetta ft. Nicki Minaj and Willy William – Goodbye

You can all show yourselves out.


Scott Mildenhall: And why not? It is a delight to have the king of off-kilter samples back on his confusing game. The original’s pomposity is pricked by the mere existence of “Goodbye,” but it unavoidably maintains its kernel of self-reverentiality, and it’s all the better for it. The juxtaposition of demands to be taken seriously and genres, language and people that are often dismissed makes it a paragon of pop subversion. That’s not to say that this is necessarily ironic, nor that anyone won’t just take it at face value, or with more respect than they would Bocelli or Brightman: more that it’s triumphantly oblivious to the alternatives. The only shame is that it’s not on a Been Around The World Don’t Speak The Language hotel room loneliness EP alongside reworkings of “World in Union” and “Barcelona.”

Alfred Soto: When Nicki’s in VIP mode, she’s a zero; turning humans into indistinguishable sound effects is Guetta’s talent for the ages. Willy William does a French impersonation of Pitbull (“Parlez-vous francais” indeed). As for Derulo — who?

Will Adams: Ah, there’s the David Guetta I remember, where staples are somehow considered acceptable to hold a song together. Nicki Minaj’s yearning chorus was probably meant for something like “Don’t Leave Me Alone,” but then “Mi Gente” happened and Guetta, as he is wont to do, wanted some of that action and, needing a hook, threw up his hands and said, “fuck it!”

Ryo Miyauchi: Derulo still clings on to novelty when he imports dance styles from the Caribbean as if it hasn’t been a common practice in the last few years of pop, and his overt attempts to make note of how ~international~ it feels is quite the loss for a song with a chorus that actually sings with sweet sincerity.

Edward Okulicz: It’s three years since Derulo’s last album. It doesn’t feel like it, does it? He’s always just so… there, and often pretty good at it! His and Guetta’s take on perhaps the second most significant song to come out of San Remo is busy, clattering, clumsy and incapable of holding or causing any kind of emotion. It just feels like a rapid sequence of basic thuds and loud people trying to get heard over them. Presumably Andrea Bocelli is rolling in whatever the equivalent of a grave is for a rich living person, but the original is like seven notes worth of really nice melody, and then a lot of boring stuff and this at least keeps that.

Crystal Leww: While I gotta give it up to Jason Derulo for working with actual Latinx artists when capitalizing on the reggaeton trend, this ain’t it! Everyone on this track has done better than this track, including poor Bocelli. Even particular permutations of these people have done better than this track (yes let it be known that I am a stan of Nicki Minaj’s classic rap “I-I-I-I-I-I-I-I-I-I” and one day history will vindicate me for my love of “Hey Mama.”) Lazy work from everyone involved that feels like it was rushed out the door to try to make something work and I’m sure a very expensive attempt at that.

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