It’s OK Kali, we’ll be your friend.

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[6.29]

Jonathan Bogart: You can tell how old I am from the fact that I keep wanting to drag Portishead into this when they’re not a comparison point, just part of the historical background.
[7]

Micha Cavaseno: The simplistic shuffle of Caleb Stone’s production helps to set the mood, a long break from his constant need to work with dead-end blog rappers like Mike Deece or Speakz. And Uchis sounds like a modern teen Gal Costa with a perspective leaning less to the typical association of Winehouse than a odd blend of early Lily Allen and Nikki Costa, delivering one of her most even vocal performances on Por Vida here, though somehow offering both less and more of the unabashed personality she writes from elsewhere. A bizarre contradiction, but a positive struggle so early in the game for Uchis.
[7]

Alfred Soto: The shuffles and clicks and scatting create the impression that Uchis and producer Caleb Stone have “modernized” their Billie Holiday collection to accompany Uchis’ moues and vowel caresses.
[6]

Thomas Inskeep: Sultry, disaffected R&B-ish: good production, better singer, great song (written by Uchis herself).
[7]

Ramzi Awn: Wow take this as a lesson on how to take a pitch-perfect beat and bludgeon it to death with bad songwriting and worse lyrics. 
[3]

Edward Okulicz: 10 years ago, you can see a song like this being given a sort of Salaam Remi-ish jazz’n’b production. 20 years ago, it might have been given a light coating of trip-hop. Kali Uchis evidently shares my sentiments that 1995 was a slightly better year than 2005.
[7]

Patrick St. Michel: Nothing dramatic or doomed, simply exhausted. Kali Uchis sings like she’s just burned out on trying so hard, not sad about this feeling but singing like staying in her room might honestly just be the best choice at this point. The music matches her defeat, all wispy synthesizers and a beat making the bare minimum of effort. Retreat captured really well.
[7]