It was out in Sweden last summer, but it’s only just made its way to Denmark, so we’re reckoning that falls in our catchment area…
M. H. Lo: Not that many people noticed, but, of all the women who released “Ronsonized albums” last year, Veronica Maggio can boast of having the second best. This isn’t the strongest song from that album, but you can see why it makes a good (second) single, especially beyond Sweden: not only is the chorus simple and insistent, but it centers on a word that has a track record of success for girl groups from the Supremes to the Spice Girls. This, approximately, is about as good. Extra marks for totally trumping, in her video, Beyonce’s suddenly-pathetic robot hand.
Martin Kavka: This isn’t the most immediate Swedish pop song, but it may be the most immediate Swedish pop song to have a harp in its pre-chorus. I wish that Veronica wouldn’t sound so needy here, but the lyrics, about a girl who can’t get over her ex, would seem to call for it.
Alex Macpherson: Unfortunate: Maggio’s voice exists at precisely the same nasal, unchanging pitch as the low-level, chronic whine of a teenage girl forced to go grocery shopping with her mother even though she was in the middle of talking to her friends online and she’d already arranged to meet them and what if someone sees me and you’re always asking me to help you and no one understands and [fade to grey]. Worse, there is the sneaking suspicion that Maggio thinks she’s being cute.
Rodney J. Greene: I like that this song latches on to a couple pieces retro-soul signifyin’, but Maggio doesn’t try to do anything stodgy, or, worse yet, cute with them. Thus, the stomp ‘n’ clap beat is played on machinery and the deep horns are recruited in service of a failed attempt at soothing some rather nervy singing.
Iain Mew: The moment early on when the horns that have been sidling up in the background suddenly draw attention to their presence by dropping out is particularly great, as is the repeat later, followed by Veronica trading melodies with herself, but the whole thing is lush and enjoyable.
Hillary Brown: Just this side of perfect, due to a sense that something’s being put over on one and there’s actually not very much song here. But if that’s so, the smoke and mirrors (her wonderfully strained voice and the intelligent and kinda sexy beat) are quite impressive. Yay Sweden!!!
Jonathan Bradley: Even if the beat stomps just a little too tentatively, and the climax crests a little too smoothly, the gauzy slide of the instrumentation hints at a sly intrigue. Over the course of three minutes the song’s soft tug becomes something close to intense. There’s a little froth, but there’s plenty of fizz.
Dave Moore: 
Edward Okulicz: 
Martin Skidmore: