With our Jessie Ware comparisons? Maybe.

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[6.00]

Thomas Inskeep: There’s enough of her trademark James Blake-isms buried in the mix to make it distinctive, but I still initially thought this was a new Jess Glynne single. Which is a good look on Låpsley. I’d love to see her go (commercially) overground. A beautifully masochistic record.
[7]

Katherine St Asaph: About as much potential to hurt as a swaddling blanket by a heater in a BRIT School classroom. Extra point for the synth fuckery toward the end; if only the conventional ballad of the rest of the song made way.
[6]

Sonia Yang: I almost confused her with Halsey. Turns out it was just Adele doing trip-hop.
[5]

Will Adams: Låpsley’s performance is a solid application to the Jessie Ware School of Restraint, but the gorgeous, ghostly texture that opens it unfortunately gives way to Big Pop Ballad Drums. The final fifteen seconds are the best: the music shrinks to some vocal chops and snaps, both a release and coulda-been moment from the preceding fireworks.
[6]

Scott Mildenhall: At its core, this is a strong X Factor ballad, but in building upon the “Wildest Moments” method of massaging it with funny noises, Låpsley does create something of its own kind, too. It’s those that most grab the attention and define the atmosphere. Nonetheless, the straightforward bluster made most explicit by the final, glorious, cheap trick of sudden, split-second silence before ramping everything up a notch is what makes the song.
[7]

Alfred Soto: The sample helps, the pain Låpsley sings about given cybernetic form and toughening the second tier Jessie Ware-isms.
[5]