A veritable popularity contest, right here…

[Video][Website]
[5.42]

Ramzi Awn: Harris cuts Florence’s signature sound with just enough dated luxury to make it tolerable, taking us from one woman’s ethereality to a “Queer As Folk” dance floor in a heartbeat.  The wail on the “say my name” refrain has the conviction of a moment in time that can’t be replicated, and the leanness of fine production.  The song features its share of trite flourishes, but the roller-rink shout on the chorus does a good job of making up for them.          
[6]

Katherine St Asaph: Florence Welch and Calvin Harris on the same track has to be the result of some British quarantine experiment, but this isn’t so bad. Calvin undercompensates for Florence’s oversinging, but there’s a more than serviceable dance track here for two separate people to interpret. Which confirms all your prejudices, but did you really think this wouldn’t?
[4]

Jonathan Bogart: Those lyrics: is she doubling down on the weird atavistic racial stuff? (Never even mind the Deco Egyptian motifs in the original, non-remix video.) Even if she’s trying to be inclusive, why does it read like an Aryan anthem? Calvin Harris adds exactly what you’d expect him to.
[5]

Edward Okulicz: My average score for Florence singles is worryingly high, but I’m pleased to be able to normalise somewhat — this is pretty poor. It’s underwritten, trite poetry given a vocal workout that would embarrass a far better lyricist, and Harris’ remix is basic stuff. The effect is not two great tastes that taste great together; the two instincts are like oil and water — they neither mix nor violently react, they just float on top of each other.
[3]

Brad Shoup: So he just plonked a house piano on? The grey strings and expected pizzicato remain, though the toms (which I’m generally going to appreciate, ah well) are gone. The mixing turns this into an unfair fight: Welch’s near-whispers and melody-gargling ecstasies find the same sonic cancellation.
[5]

Colin Small: This sounds a lot like Chris Brown’s “Beautiful People” from last year. It has, however, a lot more humility, which can make music a lot better.
[7]

Patrick St. Michel: This somehow manages to sound less self serious than the original, but also more dramatic.  More importantly, it’s way more fun.
[6]

Anthony Easton: I was going to write about how ham-handed Harris’ production is, and how it doesn’t do much except fight against Florence’s vocals. But Florence is running thin on the few tricks in her arsenal, so it’s power fighting against power with no real resolution and, amusingly, little power.
[4]

Mallory O’Donnell: An excellent reminder that no matter how odious or dubious a song might be, one can craft joyous moments by the simple, complete replacement of “original track” with “awesomely generic house track.” Flo & Co’s original is overweening in its pretension, bowed down by the weight of a bad analogy about color and transparency. Calvin Harris strips “Spectrum (yadda yadda)” of its’ own bullshit, culling the soaring diva parts to dance around the throbbing disco-house core that Mr. Harris and you wished was there from the start. I’m gonna be sick of this in a few months, but that’s only another testament to how great it is.
[8]

Will Adams: Calvin loads his template, as he is wont to do, but wisely trades the steel drums for pulsing piano chords, which pair beautifully with Florence’s soulful vocals. Remixing appears to be the ideal medium for him; integrating the original’s elements save it from sounding like a copy-paste job. And really, I can’t dislike anything that reminds me of the 90’s house that made me realize how much I love dance music.
[6]

Alfred Soto: There’s a nifty house anthem here if Florence’s posh tones weren’t the aural equivalent of hiding behind the safety of the VIP velvet ropes. 
[6]

Iain Mew: In terms of personnel, this is definitely greater than the sum of its parts. It’s just that with these parts, that’s not saying much.
[5]