Named so because of their initials, not because of a Dave Grohl obsession…

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[3.60]

Thomas Inskeep: This Swedish boyband has an awesome name and a super boring single. “Got it on lock/We know what’s up” — no, you don’t, on either count.
[2]

Scott Mildenhall: On previous form this could easily have been a cover of the theme from The Raccoons; if anything, it should have been. Sweden’s biggest boyband followed their launch with a remake of Bomfunk MCs’ “Freestyler”, have one song called “Kangaroos”, and another, titled “King Of The Radio”, that extols the virtues of listening to Zane Lowe, and thus may well have been the catalyst for Beats 1. Better yet, they are a band of four Jason Oranges; dancers, not singers, though that isn’t overly apparent here. Instead they form a near-homogenous, quasi-American quartet vocal that fills the gaps inside the prefab production well. It’s all disappointingly basic, but they’re here to sell their PG-posturing, and that they do, striking a good balance between it and sparseness.
[6]

Will Adams: An ill-conceived pairing of RnBass and a Backstreet Boys reunion.
[3]

Brad Shoup: Like a Backstreet click track. A boy band track this spare is either brave or sabotage: the song’s like four bridges strung together.
[5]

Iain Mew: I can see why boyband RnBass must have seemed like a good idea (it’s inevitably kind of already been done in Korea), but the execution is all off. The riff is too thin and repetitive but still sits uneasily with the overly clean vocals. Their attempts to play tough guys flounder immediately, and once they reach the us-against-the-world chorus, the only choice is to side with the world.
[3]

Alfred Soto: It threatens to turn into “They Don’t Care About Us” but PG-rated.
[5]

David Sheffieck: The Fooos have been hovering somewhere between puzzling and endearing in the past, a boy band with songs about dominating the radio (in a post-Spotify, pre-Beats 1 time) and outdated dance crazes. But their reference points seem to be catching up to them, and using a bassline that tries so hard to be just the right side of prompting a lawsuit from Igloo Australia just emphasizes how much their hook writing suffers in comparison to Charli XCX.
[4]

Micha Cavaseno: Perfectly inane, and rips off ratchet in a way too subtle to say it’s doing so. I don’t think I could ever hear a boy band trying to encourage themselves to turn up, but only because more and more the boy band market works so hard to appeal to a rock market despite usually being a post-R&B formula in its more modern context. A decent change of pace, and if this had only been their debut single perhaps a future would be to behold, but more than likely this points to being a fluke.
[4]

Ramzi Awn: It’s always a travesty what a bad vocal can do to a good beat.
[2]

Patrick St. Michel: I get that boy bands are important and they (along with their fans) shouldn’t be brushed aside. But why do The Fooo Conspiracy (uggggggh) exist? All they bring to the fray is a janky Mustard-biting beat and the ability to backflip. Someone teach the teens about market saturation.
[2]