This Canadian youngster is really beginning to turn heads…
Iain Forrester: It’s 3012! Beats are now sentient entities refered to by “who” and we’re ruled over by bass firing robot overlords. They know how to put on a decent party. If Nicki Minaj’s verse sounds a bit perfunctory, well, that’s what 1,005 years worth of guest slots will do to you.
Katherine St Asaph: “All I need is a beauty and a beat who can make my life complete.” The syntax is telling.
Alfred Soto: The beauty is the beat breakdown in the middle — it’s even better than the one in NSync’s “Pop.” The rest sticks to his tried-and-true.
Jonathan Bogart: His transformation into an R&B-faking club rat is complete. Thank God for Nicki Minaj.
Anthony Easton: I refuse to believe in the sexual prowess of Justin Bieber, and with this song, I have the feeling that Justin Bieber refuses to believe in the sexual prowess of Justin Bieber. The less said about Minaj, the better.
Brad Shoup: He’s onto something here: leading futurists forecast a plutopedocratic society in which our young lords (known as YoLos) audition potential mates in a club setting.
Patrick St. Michel: Bieber and company cram so many contemporary pop trends into this song — EDM breakdown, Chris-Brown-sounding verses, Nicki Minaj — that it sounds more like a “what’s in” report for a record company executive than a pop song. There is a good track somewhere inside this.
Will Adams: His voice is really letting him down. He stops paying attention for just a second and the adenoids rear their ugly heads, bringing the proceedings closer to a beauty and a bleat. A shame, too, because apart from the yawning dubstep bridge, Max Martin and Zedd’s early hours electro production is sweet, not to mention shockingly tasteful. Point subtracted for Nicki, whose presence couldn’t make any less sense.