Note: this does not mean we have aligned with TWFanmily. Or with the Directioners. We’re currently mulling over our options and trying to figure who can offer the best protection…

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[6.44]

Katherine St Asaph: What the hell happened? On paper, this is awful: “We Found Love” with the leftover “Glad You Came” presets, polluted with blorty bass and disco and handclaps, as a booty call, with a chorus entirely in falsetto and a strained soulful bridge. But they sell it like The Rapture. Forget that Canadian kid; our next Timberlake may well come from abroad.
[7]

Brad Shoup: The falsettos are paltry soul, but they’re shuffled tight enough to create something like the intended effect. Similarly, the faux-house exhortation to the people ends up somewhere interesting instead of straight-up embarrassing.
[6]

Anthony Easton: I love when the church and the club collapse under the power of a full disco banger, especially when you read “church” as a gold lamé bedecked boudoir. Cut the first verse, and it’s almost perfect: the echoing hand claps, the stuttering lasers, the falsetto chorus, and the vocal effects. 
[9]

Alfred Soto: By the time Clear Channel pummeled “Glad You Came” into me in July I had cried uncle weeks before, so I was ready for conversion. The Philip Bailey-style falsettos, filtered through several years’ worth of Calvin Harris-Guetta remixes, are more batshit than I’d expect from such hot young things. There’s still not much of a song though, and they ain’t fooling anybody with the blinded-by-the-light testifyin’.
[6]

Patrick St. Michel: Reading YouTube comments between One Direction fans and The Wanted fans is way less grating than the chorus on “I Found You.”
[3]

Will Adams: It’s courteous of them to always start off with the chintzy accordion synth, allowing me ample time to switch to another radio station. But what if I were sitting in the back seat, and had no choice but to listen to the horrid strains over mind-numbing bosh? Calling shotgun has never seemed so necessary.
[3]

Edward Okulicz: A smarter, catchier, better “Glad You Came,” saved by a bigger, deeper groove, and topped with a potentially disastrous but quite effective falsetto chorus. Where the average accordion house single skips along, this one stalks with unexpected claws in its beats.
[8]

Zach Lyon: I totally support pitting them against 1D after every single single, so let’s talk about the main reason “I Found You” wins this round with fervor: that chorus. Where the chorus of “Live While We’re Young” is interchangeable with those of their previous two hits — to the extent that getting any one of them stuck in my head meant getting all three stuck in my head — the Wanted boys know to change things up. A lot. And I don’t think the same criticism can be levied against the already-stale-in-2010 Euro accordion synth that we already heard in “Glad You Came”, because at least Steve Mac turns them into something nice and sinister. Also not to be underestimated: their wonderful tries at rough ‘n’ throaty baritone in the verses, the successful stomp in the chorus.
[8]

Iain Mew: Masking their particular vocal shortcomings by doing devotional falsetto for most of the song is an unexpectedly brilliant move, helped by imagery as striking as a “river of pure emotion”, but it’s not even the best one here. That would be taking the balearic beats of “Glad You Came” and twisting them hard into a vicious death spiral after every chorus.
[8]