Well, study Tinashe’s body language here then…

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[5.38]

Brad Shoup: As usual, Usher’s the casual master, finding about a dozen different flirtatious registers. Kid Ink’s just a bro, and Tinashe’s just a cameo, a human echo of the slinky vibes from Cashmere Cat and Stargate, going sideways on the trap-pop sound.
[6]

Katherine St Asaph: Not since “ft. Janelle Monae” has a feature credit promised so much and delivered so little. *slouches, frowning, dull-eyed; looks briefly animated at the beat, then returns to slouching*
[5]

Micha Cavaseno: The Progenitor of the Chris Brown Doppelganger wave, Kid Ink is a strange guy. He’s a mediocre rapper who can sing, produce, and do anything! But well, be interesting. “Body Language” has Ink practically duplicating his verses on “Show Me”, and his contributions feel as minimal as the Klasky Csupo plinks of Cashmere Cat’s toy beat, the sounds of a toy store coming to life to some child’s wonder while outside, some boring dude is trying to rap and sounding like a kindergartner singing “NYAAAH-NYAAAH”. Usher and Tinashe are having a slight ball by themselves, and it’d be cool if maybe a remix happened where these two get to have fun, but NOPE! Kid Ink is here to hog all the toys for himself, and do nothing with ’em. Jerk.
[3]

Anthony Easton: She might not have to say too much, but I hope someone says something, because the complete absence of novelty here makes one worried that any sex which may occur was staid at best. 
[6]

Alfred Soto: Maybe Chris Brown was supposed to fade. Kid Ink was supposed to be a reasonable simulacrum. For that show of sleazo soul, he gives Usher the hook. Insofar as the song works, thank him. Neither dude can claim an acquaintance with the barely present Tinashe’s body language though.
[4]

Josh Winters: Tinashe’s presence here feels like someone getting on their tippy-toes to get a word in edgewise. After spending the past few days with Aquarius, I’d much rather hear what she has to say instead of the other two.
[5]

Scott Mildenhall: For what value Kid Ink brings this it could just be an Usher and Tinashe song. Really, it should be. A subtly push-pull duet between the two singers would offer far more, changing the questions they pose from mere traces of Ink to something genuinely interactive. Just give the verses to Tinashe, he can have the ad-libs.
[6]

Crystal Leww: The rise of Cashmere Cat as a Proper Pop Producer is an intriguing storyline for 2014, and he’s toned down the weirder, wavier elements of his solo and remix work and upped the twinkle and vocal mix. It’s worked out really well, as “Body Language” is great. The combination of Kid Ink, Usher, and Tinashe produced by Cashmere Cat is a worthy rival to Kid Ink and Chris Brown produced by DJ Mustard. Kid Ink knows he’s never going to come close to being the best technical rapper, so he’s settled into the nice niche of frat rapper and potential rival to Big Sean. He’s so stupidly dorky, slurring “that aaaaahhssss worth all the worship” with a sort of lazy glee. Usher is one smooth fucker, serenading you, challenging, teasing you slightly your body gives you away. Tinashe’s contributions are minimal, but +1 alone for giving her a featured credit for minimal lifting here vocally and basically a co-write. It’s about time ladies turned the tide on this uncredited bullshit.
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