They’re gonna break our thumbs over this score..

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[3.83]

Katherine St Asaph: It’s taking all my critical faculties not to auto-dock this for “heaven’s got a plan for you.” Thankfully, I don’t have to between John Martin’s artificially burnished Taio Cruz voice, his poetaster’s lyrics and the SHM structure, where every note happens for the same reason. 
[3]

Jonathan Bogart: Brute trance as gospel-inflected inspirational uplift. I’m a bit ashamed that the inarticulacy of both the music and its fans contributes to my despising it; there’s no virtue in being hyperverbal, as any reader of unpaid indie-rock reviews knows. It’s the strength of the ideas that matters.
[4]

Patrick St. Michel: Hey Swedish House Mafia, I know this is your last song together and all, but can I ask you for one last favor? I don’t know where you guys plan to go during your hiatus but… wherever it is… can you take John Martin with you? He sounds a little rough around the edges; some time away might be great for him. 
[3]

Iain Mew: There’s a perfectly serviceable if unusually restrained bit of stadium dance in here, but it’s impossible to grasp because of John Martin’s bellowing all over the top of it. At first it provides a contrast with the synth blasts but instead of those building up there’s just more and more of him. Not so much “ft.” as “subject to a hostile takeover by”.
[3]

Will Adams: PSA: this really needs its extended mix to make sense; three and a half minutes won’t do it justice. Anyway, SHM go out with a bang, albeit a very familiar one, employing John Martin to great effect in a melody that isn’t afraid to get a little ugly. Still, “Don’t You Worry Child” misses out on pure euphoria by reducing its titular message to pity over some teenager’s breakup.
[6]

Brad Shoup: So did his dad leave him? And if so, why does he still hold his “advice”? I’m worried Martin popped an eyeball getting the word “worry” out; force is all he offers. Not much of a benediction, but with a half-dozen singles like this, not much of a legacy.
[4]