Remember what we said about hits we missed the first time around? Try like an entire career…

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[5.25]

Crystal Leww: We are many months into the rise of rnbass — the R&B sound popularized in the mainstream by icy, minimal DJ Mustard productions and hooky vocals — and there is still no obvious winner of the rnbass princess throne. Despite a slew of male artists with some amount of name recognition (Ty Dolla $ign, TeeFLii, Eric Bellinger, Tory Lanez, Rayven Justice), female artists with rnbass songs have little name recognition and/or only dabble in the sound. Mila J falls into the latter category: her “Smoke, Drink, Break-Up” was that turn of the century sound with more helium, and her feature with Trey Songz was a more straightforward R&B duet. But we also had her vocal work on the wonderfully rnbass “Hot Box” and now we have “My Main,” which is textbook rnbass complete with a Ty feature and a “mussardonthebeatho” tag. It is so good. Mustard’s beat is creepily sinister, which would could sound out of place on a song about female friendship, but Mila J exudes such fierce loyalty that you know she would end you if you ever crossed her best friend or broke her heart. It’s a tough tone to hit, simultaneously celebratory sweet and steely vicious. Huh, I think someone else did that this year….
[8]

Thomas Inskeep: This reminds me of Jamie Foxx’s “Blame It,” especially in Mila J’s tempo. I love that it’s an ode to her BFF. Ty Dolla $ign has nothing to add but at least doesn’t detract. Mila J comes off like a more-singing, less-rapping Eve, and it could be interesting to see where she goes from here.
[5]

Micha Cavaseno: Let me allow a moment for sabotage and pettiness: here is “IDK” by Bay Area R&B singer Molia (ft. TSJ Public Scourge Rayven Justice). This song features a simple yet well-crafted beat, and Molia crafts her song to said beat in a way that showcases herself and her chemistry with Rayven, who serves as a toxic (in other words, closer to the real source material) Marvin to her Tammy. Mila J’s “My Main” is written in a percussive, repetitive, insistent, obnoxiously striving for earworm style. It’s as if she wanted to become another instrument in a lackluster DJ Mustard beat that borders on Jessie J levels of irritating. Meanwhile, a decrepit-sounding TY$ ignores the song written prior by just doing some hurried guest appearance. The final bridge is slightly redemptive, and an anthem for feminine solidarity is cool, but when people with careers as storied as Mila, Ty and Dijon are looking pathetic compared to supposed amateurs, it’s a bit embarrassing.
[2]

Will Adams: The concept is there (sneak an ode to your best friend into a standard club track? Brilliant!), but DJ Mustard’s beat almost sounds like the demo version. The percussion is sparse, while the electric piano and bass sound thin and out of the box. A second draft would have beefed up the mix, and probably removed those WOAHOHOH’s that barge in during the verses.
[5]

Alfred Soto: I tuned out the boring stars to concentrate on the electric piano riff.
[2]

Brad Shoup: Great sentiment, crazy laudable. Shame Ty didn’t stick to the theme. Mustard coils rattlesnakes around tubular bells, but forgets to edit out Mila doing her impression of the worst text tone imaginable.
[5]

Katherine St Asaph: I mean, if I had a best friend she’d get me as far away from the Grammy auditorium as possible. Also clubs and Ty Dolla $ign verses. But much as with “Oath,” it’s hard to hate genuine songs about friendship; Mila’s career resurgence is heartening in itself, and she nails the affectionate/teasing/tough tone.
[6]

Megan Harrington: Generally speaking, songs about female friendship are a bit pastel. “That’s What Friends Are For” and “Anytime You Need a Friend” are practically narcotic. It’s rare to hear the details that truly define a relationship this tight, but Mila J is unafraid to get specific. She’s the girl who beats a bitch’s ass on sight, keeps your secrets, shares your drinks and is down for life. Songs like these are so rare that women will still flip shit for “Wannabe” even though it’s nearly 20 years old. When “My Main” plays, you’re guaranteed a dance floor free of leery men and a beat that behooves your best moves. It’s a special and rare celebration, and as such, I couldn’t care less what any dudes think of this song. 
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