…*shrug*

[Video][Website]
[5.00]

Ian Mathers: A song that gets better as it goes on, Melendi’s intensity swelling to operatic levels and the fairly bland music adding more and more layers. That progression is so satisfying, though, that the lack of a truly thunderous climax is a bit of a let down.
[6]

Katherine St Asaph: I may be overrating this based on how goddamn refreshing it is to hear something topping a European chart that isn’t “Waves”-wave. The parts that sound like electro Barenaked Ladies are better (really) than the parts that sound like meat-n-potatoes rock his voice is too prissy for.
[6]

Will Adams: The rapid-fire vocal lines cut through the inoffensive rock nicely, adding interest even at the risk of crowding the mix. Then the synths come in and actually crowd it.
[5]

Scott Mildenhall: Melendi barrels through this, spluttering lyrics like they’re stuck on his chest. He’s hell-bent on living up to his elaborate metaphors and does indeed approach compelling derangement, but it’s the arrangement that lets him down, practically taking shelter on the sidelines of the star’s surging spectacle.
[5]

Juana Giaimo: Do we need another soap opera drama in the form of a song? I can’t believe anything fron Melendi’s fakely emotional and trembling voice and — maybe because I’m Argentine — I can’t take seriously a song with the word “gilipollas”. 
[2]

Brad Shoup: Some sweet Sparrow-Records-circa-1997 adult-alternative backing going on here: politely muted guitar churn, panned ‘n’ canned vocal playback, a drummer who’s clearly too talented for this gig. Plus there are two separate synth parts that sound like I played them. I hope Jason Mraz is doing okay.
[6]