Life after Eurovision…
Iain Forrester: Sounds like Medina taking notes from Emeli Sandé. The frosty melancholy of the verses gets buried under the avalanche of a chorus, but Loreen’s decision not to waste any effort trying to make the two stick together is probably the best choice.
Will Adams: Melodrama sure is her forte. She’s emptied out the minibar, she’s gonna key his car, she’s a damsel in distress. It’d be sad if she didn’t sound like she was putting on such an act. As it is now, it’s pretty smart. It doesn’t quite reach the delirium of “Euphoria,” but it’s got its charms. The breakbeat on the chorus was an especially sweet surprise.
Alfred Soto: I like the line about emptying the mini bar. Too bad she sings like she’s standing in front of the bathroom mirror.
Mallory O’Donnell: Just because you have a big voice doesn’t mean you can roll in the deep. The cynical, technically flawless pomp-pop production and Loreen’s reedy but strangely invigorating gift are lost on each other here, especially when the vocoder interjects. Even lines like “key his car,” “when the battle’s lost,” and the public domain staple “picking up the pieces of my broken heart” register as vaguely uplifting: not exactly what you want in your drunken self-immolation anthem. Or is it?
Anthony Easton: Eurobosh gone full Sirk, with the electronics replacing the orchestral sweep of strings. It refuses the domestic while maintaining an immersible, melodramatic heartbreak.
Jonathan Bogart: The shy drum ‘n’ bass beat and gentle roll of melody instead of the superb drop-and-soar of “Euphoria” means this a much worse diva anthem.
Brad Shoup: Think Céline Dion as a hot mess, indifferently produced by Kleerup. Time for Robyn to drop another five EPs, methinks.