Kenny Chesney accidentally shows up to a Rick Ross video…

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[5.20]

Anthony Easton: The very expensive video, with Bald Kenny ripping past the Miami skyline in a gleaming cigarette boat, is a masterpiece of unconvincing heterosexuality and theatrically unintended camp. This masterpiece makes the rest of the work pale in comparison.
[4]

Jonathan Bogart: The meld between country and stadium rock is so complete that it’s reached the post-Arcade Fire stadium era. Which is the best thing I can say about this song; the only other thing I can say about it is that the lavish hyperwealth on display in the video, while no doubt a more accurate representation of a country superstar’s lifestyle than the dirty jeans/beat-up Ford/country roads imagery suffusing his peers’ videos, is a tad dissonant with the humble repeated “come over” of the chorus.
[5]

Alfred Soto: Chesney’s big innocuous voice complements his innocuous songs. He would have played the firefighter who seduces the bored housewife in “All My Children” — such is his appeal. Still, when he repeats the chorus he makes you believe the baby crawling the walls and other domestic woes are driving him crazy. He sticks to type despite being as promiscuous in bearing as a Supreme Court justice. That’s why my sister is a fan.
[5]

Jonathan Bradley: Let’s check off the reference points: in sound, it’s “Over and Over” by Tim McGraw and Nelly. In theme and sound, it’s Lady Antebellum’s “Need You Now.” The outro includes a shameless bite of the outro of U2’s radio-classic-for-a-reason “With or Without You.” And it works — because all of those reference points are gorgeous, because Kenny Chesney’s always been a hack whose worth is best measured by how adeptly he pulls off his hackishness, and because he sings “I don’t think I can take this bed gettin’ any colder” with such hollow dread.
[8]

Brad Shoup: We may yet this year hear a resonant male-sung country tune about exes-with-benefits. Apparently, Kenny’s team decided they had to claim the territory before Tim McGraw. The pianissimo singing is a good move for him (cos it’s safe, and staves off comparisons to the full-lunged gentleman backing him up), but he should’ve vetoed the little-kid begging on the chorus. Among other things, it breaks the narcotic spell of laziness.
[5]

Josh Langhoff: The opening guitars intertwine like lovers, and Chesney maintains that intimacy with his perfectly controlled singing. Even when he threatens to crack on that high “anyone else,” he places the “s” so deliberately it’s like he’s whispering in your ear. He breathes only for you. Forget about your friends.
[6]

Patrick St. Michel: The first bit of this, where he describes his lonely night, has some pretty nice details (or maybe a lyric like “I turn the TV off to turn it on again” comes a little too close to capturing what I do on particularly boring Thursday nights). Once the second verse starts, though, this transforms into a booty-call text written in a fancy font and extended to five pages.
[4]

Will Adams: Like those sensitive ballads that would be the ninth track on a boy band’s album, “Come Over” goes down easily enough and is ultimately neither here nor there. It hardly registers as country — those synth pads! That classic Hot AC mid-tempo! Vocals that echo at the end of phrases! — but Kenny’s got the personality to save it from pure soft-rock schmaltz. Barely.
[6]

Katherine St Asaph: Country is soft rock. “Come Over” is what One Direction will write when they discover adult relationships. I’m not horribly opposed to either.
[6]

Colin Small: I haven’t heard a song with a less relatable premise since O-Town’s 2001 single “All or Nothing”. I would advise the woman in question to ignore Chesney’s whining indefinitely.
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