Aww, we like you too, Miranda!

[Video][Website]
[7.17]

Lauren Gilbert: I’m a bit torn on Miranda Lambert’s half-spoken half-sung songs (“Crazy Ex-Girlfriend”, “Little Red Wagon”) — if you can’t shout along to the chorus while driving 90 down the highway, what’s the point of a country song? — but this is a wonderful shout-out to women, in all their complexities.  Miranda Lambert has made a career out of being a character; not the girl next door, not even the woman wronged, but as a woman who might may be a little crazy, but goddamn she’s fun. She’s her own person, Blake Shelton or no, and this song feels like a shout-out to all the women like her; who might go through heartbreaks and flings and maybe marriages, but are more than the men they fuck/don’t fuck. Lambert and her friends exist completely on their own terms, and I can’t help but love that sentiment.
[7]

Anthony Easton: Albums are weird these days, and country seems to be resting on EPs or singles. Lambert’s latest album has a number of songs that read as singles but don’t work as part of a larger narrative of the album. Think of something like Lemonade, which had both singles and a cohesive, smooth narrative–the singles existed, but they didn’t pop out of an album, or disrupt (or if they did disrupt, it was on purpose — it seemed a deliberate choice). So I am not surprised that this is a single — it would sound great at concerts, and I look forward to the video. But it seems too simple and too well-constructed for Miranda’s voice, and the writing isn’t nearly as interesting as Audra Mae’s “Little Red Wagon.”
[6]

Alfred Soto: Singers spend lifetimes in search of the colloquial ease with which Miranda Lambert sings “sedative.” Bands look in vain for the interplay between bass and drums herein.
[9]

Thomas Inskeep: One of the most radio-friendly country songs on the stellar The Weight of My Wings, and kind of a throwaway by Lambert’s standards — but her throwaways are better than most artists’ keepers at this point, so much is she driving the pace car for contemporary country music. 
[7]

Ramzi Awn: Miranda Lambert knows how to keep things simple. “We Should Be Friends” isn’t a surprising single, and that’s one of the best things about it. Miranda’s delivery, as usual, doesn’t hurt.    
[8]

Katherine St Asaph: I just don’t believe her. Not on a personal level; I know for a fact that even if I tripled my alcohol intake, gained the according weight, tattooed my entire wherever, Rented the whole damn Runway, kept the mind clutter and heart corrosion, the song directed at the likes of me would still be “Only Prettier.” Which is fine, but Lambert can’t decide whether she’s going for universal (stained tees, drinking and smoking, pain and shame) or for Southern shibboleths (daddy lessons, “bless your heart” as a pejorative). Not on a musical level; the crinkle in her voice’s a little too pronounced, and it slips. The writing’s solid, if a bit too formulatic in its list-song structure, and she can command a band. But the thinness of the arrangement, before the country-radio-mandated chorus thickening, suggests Lambert’s trying to fill in the gaps with relatability that’s just assumed to be there.
[6]