Today in Romanian–Puerto Rican partnerships…

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Anthony Easton: By “more than friends,” I am assuming they mean some kind of business partnership, because this piece so is so exquisitely designed to make money — plastic, disposable, and so perfect in its nonce pop sheen. 
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Patrick St. Michel: The version of this song featuring Daddy Yankee works a little better, as it is more than a cheesy Euroclub stab at sounding “Latin American.” Still, whatever take on “More Than Friends” you choose is just the same annoying sounds played over and over, with some poorly deployed Auto-Tune to make everything worse.
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Scott Mildenhall: This strain of Romanian pop, Latin-influenced and predominantly female-fronted, is often very good at providing very simple thrills. Inna and Alexandra Stan are probably its best known exponents, but beyond that there’s a whole world of the stuff from people like Andra and Akcent and Elena and Liviu Hodor, and seemingly endless swathes more. Unfortunately, while all of those acts have come out with some fantastic singles, this isn’t one of them. It’s quite surprising that it was written and produced by Private’s Thomas Troelsen, because he is capable of so much more, an example of which being his other recent foray into the Romanian scene, Antonia’s “Marabou,” which uses similar reference points, but to a breezier effect. In fact having said all that, don’t listen to “More Than Friends,” listen to that instead, or one of its many superlative counterparts.
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Daniel Montesinos-Donaghy: The reggaeton intro gets warning bells ringing as it tells me that somethingoverwhelmingly familiar comes this way, something I dread as much as I recall with warmth: sun-stroked summer holidays! This has all the benchmarks of a summer holiday hit — the sense of nostalgia, the happy-go-lucky major key approach, dumbly sweet devotions of love like the hook’s “Tonight! We should be! More thanfriends!” (Bonus: Daddy Yankee verses! At least, on another version of this song.) For a moment, “More Than Friends” seems like itwill go all “Bubble Pop” on us and pull an aggressive about-turn on us from all that bubblegum glee but Inna doesn’t seem to want to leave her comfort zone. Perhaps she’s too in the moment. It seems fine enoughbut leaves the song feeling one-note, like a fun conversation that nonetheless keeps circling back tothe same points. I never thought I’d say these words, but I actually miss DaddyYankee.
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Alfred Soto: The response to “Glad You Came,” complete with mirror image accordion. They’re pouring drinks, she’s being coy.
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Will Adams: Tonight, Inna can be more than the carbon copy Eurohouse she once produced. However, her melody fails to be more than just decent.
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Brad Shoup: IT’S A TRAP
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