Bit of a drop from “You’re the One,” maybe…

[Video][Website]
[6.50]

Iain Mew: “You” is a [9], and taking such a gorgeous track barely altered for your backing isn’t worth too much credit in itself. Only the talky bridges aren’t Gold Panda-powered, and while “You were old-school, I was on the new shit” is fun, it’s no “You’re from the ’70s but I’m a ’90s bitch.” “You (Ha Ha Ha)” does do more, though. It takes the Gold Panda track and works it into a new song in way that gives it a new spin, lending it a mocking, vindictive edge even as it still dazzles. Charli XCX making it laugh along behind “you fucked it up,” that‘s what makes it worth celebrating the song for more than just her good taste in samples.
[8]

Alfred Soto: Programming electrosass like this shouldn’t work, but the backing track has a lot going on, and concentrating on her vocal doesn’t reveal second-tier Lily Allen so much as Kylie Minogue singing Jarvis Cocker lyrics.
[7]

Pete Baran: The sounds work for me, and as ever Charli manages a bottled up and tightly controlled vocal, but perhaps the prude in me is responding to what I see as a supremely lazy chorus gambit. The “You fucked it up” — ha ha ha — piece doesn’t work for me and so as much as the track worms its way into my bonce, I have ended up being irritated by it.
[4]

Kat Stevens: I’m sorry but she is wearing a bloody CYBERDOG t-shirt in the video. Their glowsticks are waaaaay overpriced.
[4]

Crystal Leww: The song reminds me a lot of Purity Ring’s excellent “Fineshrines,” which also features vocal blips with a chorus that just explodes. Of course, “You” wouldn’t be what it is without Charli. Her vocal performance is absolutely on point tone wise; she sounds happy and free to the point that it’s vicious as she’s telling her ex that they “fucked it”. 
[8]

Patrick St. Michel: Look, the Gold Panda sample would get a [7] out of me even if Charli XCX’s contributions weren’t any good. Thankfully, they are, as she turns the hiccuping attraction of the original “You” into a kiss-off song. Her “ha ha ha’s” match up well with the music, and the way she delivers “you fucked it up” is a great release. Even the late-song comedown, which initially sounds like Charli trying to cope, morphs into “you were meant to be alone,” one more poke in the ribs.
[8]

Katherine St Asaph: The rap against Charli XCX is that she’s pop with indie overreaches, or indie with pop overreaches, or something. I think I’m supposed to care, but I don’t; I will pledge whichever bastard overlords all the allegiance I’ve got to hear Charli get the last laugh over Mr. Flinchy with an unflappable groove and vocals whittled into throwing stars. She does it just like “Stay Away” — with two major differences. The former’s gothy martyrdom’s been replaced with cool-kid posturing (which is where the sample comes in, I suppose), and where “Stay Away” is a song about defeat that sounds triumphant, this is a song about triumph that sounds defeated. Dude remains unforgiven; all she’s got for him is “fuck you, you lied, you’re dumb,” set to glum melodies, and the knowledge that she’s probably right and he probably doesn’t care. It doesn’t quite work as the anthem it wants to be because it’s so bitter it’s hollowed its center out — but sometimes, bitter is what you want.
[7]

Brad Shoup: We’ve got two tempos scraping like tectonic plates: the twitching Gold Panda bit at the base and Charli’s pre-chorus/chorus that unfurls so slowly. The former tugging at the latter would make for great tension; the reverse makes me feel like I’m jogging in a pool. The swinging near-rap at the end has the same cadence and placement as a similar bit in “You’re the One,” but “You” can’t wait to be rid of it.
[6]

Will Adams: Charli XCX shows us that laughter really is the best medicine. On the chorus, she delivers, “You, you lied,” with a tinge of regret, but then those taunting ha ha’s come in, and it vanishes. “I was right,” she continues in full gloat. Breakups can be shitty, but Charli captures the liberation they provide in three razor-sharp minutes.
[8]

Sabina Tang: In principle I’m happy for Charli to lay a pop narrative over this Gold Panda sample, which carries for me the personal resonance of pleasant summer outdoor festival-ing. Alas, both vocal melody and lyrics are the sneaky sort of underbaked, whereby the surface looks golden but a single bite reveals the centre is wet dough.
[5]