Or possibly Namie Am-erie.

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Natasha Genet Avery: Amuro may have been going for “70s influenced 90s R&B and hip-hop and 80s dance beats” but those first synth jabs took me right to early Passion Pit — anthemic, explosive, giddy. The chorus ascends to celestial heights when Amuro nails a surprising interval (“shi-i-INE,” “ri-i-IGHT”).
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Iain Mew: Its touch is more assured than golden, but almost exactly a decade on from Amerie’s “1 Thing” is a good time to record something that sounds like “1 Thing” after its prospective couple have been together for ten years.
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Micha Cavaseno: This would be such a monstrous jam if Namie Amuro didn’t ravage notes within her throat. Such a good song, wasted on star-power.
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Edward Okulicz: The horn stabs jump out of the speakers and make such an impressive introduction that I expected to turn around and see Amuro descending an enormous gold staircase into my living room. The “we got the touch/it’s golden” section towards the end drags a bit, but the chorus is confident and celebratory.
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Alfred Soto: “Golden Touch” sports some of the relentlessness of “1 Thing,” with the way the brass is mixed complementing Amuro’s chalky tones.
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Megan Harrington: Ever tried drinking a reheated latte? 
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Thomas Inskeep: Obviously the synth stabs harken to “Crazy In Love”/”1 Thing,” but there’s more to this than those. Amuro’s vocal is assured and confident and sexy, and the production on this uptempo R&B banger just keeps pushing and pushing. And those synth stabs are superb, of course. 
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Patrick St. Michel: Japanese radio tends to play the first verse and first chorus of a song before cutting it off, fearful that someone out there will just record the single instead of running over to Tower Records to spend $10 on it. Accordingly, one major criterion for determining a “song of the summer” — the number of passing cars blaring said tune — doesn’t really apply. “Golden Touch” only needs a commercial-break worth of time, though, to assert itself. Namie Amuro’s greatest skill has always been her ability to adapt to new styles, and after years of “hip-pop” and bad Jamaican accents, she finally got around to making a big confetti cannon of a pop song. Every few beats burst like fireworks, and it all builds up to the best hook Amuro’s ever come across, and she makes the most of it. This just sounds like summer to me, big and hopeful and joyful and simple but effective. Twenty seconds of this could get a car heading to a beach singing along.
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Scott Mildenhall: All that WAH WAH WAHing might get a bit WAH WAH WAH annoying when this is in heavy rotation, but in moderation it’s a vital jolt in what is otherwise a song going through the motions. There is vigour with that, partly provided by what must be 2015’s first “Coco Jamboo” ripoff in the chorus, but if that stops Pitbull from releasing his then it could yet be a drawback.
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Will Adams: Owing some of its nimble charm (and horn stabs) to Cher Lloyd’s “I Wish,” “Golden Touch” is one of those singles that needs not do more than radiate light to be a surefire summer soundtrack. But it was the “Make me shi-ee-ii-ee-ii-iiine!” line that got me, that unexpected upward leap in the melody confirming “Golden Touch” as having the extra edge of memorability going for it.
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Cédric Le Merrer: The beat is a laid back Rich Harrison and if that doesn’t sound like your idea of a good summer jam, I’m sorry for you but I’ll be over there making a mojito pitcher.
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