Only on a sixteen-ounce cup, though…

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[5.38]Anthony Easton: Cynical as hell, but got to admire a hustle that might not actually be her own. Even if she was a busker outside the local LCBO, I don’t think I would like it, but she fails Giraudoux’s maxim that pop music uses authenticity to mask naked ambition, and Clive Davis can’t quite teach how to do it well.
[3]

Brad Shoup: Her pipes are still corroded, but now that she’s not talking about shoes it’s much more winning. The unmodulating hoedown fiddle is inspired, as are the snare taps spurring Varner through the bridge.
[7]

Iain Mew: “Drunk on You” with fiddles and the metaphor fully expanded (“conversational lush”! “A shot of you on the rocks”!) Neat. Plus Elle is actually convincing enough to at least make it sound like she’s having a good time and to make the humour fly, even if she’s left with far too much work to do much more than that.
[6]

Zach Lyon: I admittedly love this extra because I enjoy hearing such a clear fiddle preset on R&B radio, though that isn’t to say I haven’t listened to it plenty at home. Elle once again spends a song comparing a dude with another object, maybe because he’s so great that the rest of the human race just slips away and the two of them are left with nothing but all the alcohol and shoes in the world. She sings with urgency and passion here, but she still sounds as innocent as one can sound ordering “a shot of you on the rocks” and calling herself a “conversational lush”. I’m not as concerned about the low-stakes lightness of both these singles as I could be; it’s very possible that her game doesn’t involve the intense, vague, sometimes-torch singing we’re conditioned to expect from modern R&B. She’s young and comfortable enough with her youth to accept the diary as legitimate song fodder.
[8]

Alfred Soto: Fantastic opening line — “I feel like the girl in the bar who’s been there too long,” amen, sister — and fiddle volley, complete with crags that Mariah Carey would recognize. The song keeps surrendering yuks (she’s a “conversational lush”!) and self-parodic octave ascensions. In short, an attempt at the anecdotal writing of country with the display of prowess defined by R&B. Bravo!
[7]

Katherine St Asaph: Like that JaneDear Girls track in reverse: this isn’t a country song with Ke$ha autotune but an R&B track with Rednex fiddle. It was unlistenable enough before Elle started bellowing.
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Jonathan Bogart: The fiddle sample may use Appalachian harmonics, but in its hypnotic lack of variance it functions more like the pulsating string figures of Philip Glass or Bernard Hermann. The rest of the song isn’t near as intoxicating as “Only Wanna Give It to You,” primarily because she uses the bottomless catch in her voice to emote rather than to flirt. On the other hand, there’s no J. Cole on this, so it’s kind of a wash.
[7]

Edward Okulicz: The fiddle catches the ear immediately and Varner is a near sound-alike for Kelis on the chorus. A countrified Kelis is a really good idea, so this promises much. That the rest of the song loops the fiddle so unimaginatively with only some chalky melisma for company makes the song feel, well, half full.
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