Connor gives us a cut from this reality show veteran (and YouTube star)…

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[5.90]David Moore: RuPaul’s Drag Race runner-up splits the difference between Soulja Boy’s “Kiss Me Thru the Phone” and Miguel, lands closer to Soulja Boy than was probably intended.
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Alfred Soto: This American Idol contestant is a better rapper than a singer, but not so’s I’d want an all-rap track; the twinkled electronic sadness is essential (and how could it not be electronic with that title?).
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Juana Giaimo: A rapped chorus is a risky choice; while it’s catchy and easy to learn, it still doesn’t fully belong to the song.
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Iain Mew: The songwriting is a bit bald, but the snappy production is much cooler. Both are almost irrelevant, though, in the face of Adore Delano’s bravado performance, delighting in different vocal modes and using the title phrase for an evolving display of total conviction.
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Ashley Ellerson: There you are in the corner of the club, dancing and crying because you remember your ex as a not-so-horrible person, and the alcohol drowns you in memories. “I Adore U” has great Top 40 potential, and I can hear all of the teens singing along at prom (staring at their future exes), but the world isn’t ready for Adore and her realness.
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Brad Shoup: With the deliberate meter in the chorus and the trap glossing, this could’ve been intended for a Korean solo act. I dunno about the solemn “I adore u” backing vocals: a kind of platonic ideal of feelings that clearly weren’t strong enough. For reminding me of “Sex on Fire,” extra leniency.
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Scott Mildenhall: A more restrained approach to lovelorn than Oh, Be Clever, bruised rather than ready to bruise, and it shows well. The beat doesn’t skitter, it stumbles, and again and again the title applies pressure to the pain. It’s the delicate touch doing that which leaves the imprint — no hysterics, just believably downcast.
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Will Adams: Adore Delano could use more vocal control; the track could use some more liveliness.
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Katherine St Asaph: Those 30-minute-calls-from-your-recent-ex vibes. Except in the interim they’ve aged 10 years younger and started to whisper and really it’s quite alarming.
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Sabina Tang: Lana Del Rey pastiche shotgun-married to Katy Perry’s dynamic range (or lack thereof). I’m not equipped to judge Adore Delano on the niceties of drag — anyway, that’s what reality TV is for — but I do observe this track operates as the inevitable Big Sappy Ballad on an album by a charismatic performer who is elsewhere funnier and funner, if not faker.
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