She blames herself…

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[5.25]

Megan Harrington: I don’t know how much “Club MTV” you watched in the 90s, but I was deeply delighted to learn the Anastacia of “Stupid Little Things” is the same fly-girl-cum-not-quite-one-hit-wonder that sang “I’m Outta Love.” Back then she was doing the urban white girl thing, but she’s a flexible performer (like Amanda Latona, only ten years older with ten more years spent absorbing the toxic music industry by proximity) and now she’s doing the popular funky-country thing (and dancing more than she ever did in her earlier music videos, go figure). She’s a massive success in Europe and should be recognized by her home country as the Stevie Nicks-type dance witch she is.  
[8]

Crystal Leww: The swooping in the chorus is a stupid little thing.
[4]

Brad Shoup: The yodelish swoop is only one camp element; that Kanye-style background yelling is another. If you wonder what a Ryan Tedder/Isaac Slade collabo would have sounded like thirty years ago, there you go: boosted levels mistaken for stomp, ritualistic piano abuse, stock phrases of regret coming out the ass.
[5]

Anthony Easton: The pop diva antics here are a little blunted, but the way this moves from the spitted verses to the aggressive singing to the extended vowel sing-off suggests that if the antics were not blunted, the excesses might add to the contempt and self-loathing. It comes really close — the way she sings “you” around the end of the song sounds almost unhinged. 
[6]

Patrick St. Michel: Stuuuuuuuuuuupid-sounding hook.
[3]

Scott Mildenhall: Eeyanawonderifyuhnhoh that Anastacia is still fully capable of sounding like Anastacia. She is, and her bellowing about hurt is more self-lacerating than on her barely-impeachable biggest hits (but equally as bellowy). The thing really separating this from them is that their production went with her, assuring her trademark rhythm & bluster (or “sprock”, her genuinely literal trademark), where this seems comfortable to be comparatively easygoing long-service Radio 2 fodder. Which, having checked, it’s not!
[6]

Katherine St Asaph: I love that Anastacia’s still got a career, despite countless potential exits; this out-Pinks Pink, no easy task.
[7]

Mallory O’Donnell: Excellently-miked drums and a scratchy scuffle on rhythm guitar that ought to be in service of something less aggressively mundane than this. At least she blames herself. I blame whoever penned idiocies like “traded in my forever.”
[3]