No, you go on ahead.

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[2.50]

Edward Okulicz: All the points for this are because at many points it could have turned into James Arthur, in terms of being a too-specific-to-be-universal love song, and it didn’t. I mean, in its own way, it’s even more lifeless despite its beat, but it could have been worse!
[3]

Thomas Inskeep: Great Britain really, really loves their Sheerans manqué, huh? 
[1]

Ian Mathers: The longer I’m happily married (this will be seven years, and I’ve never been less itchy in my life), the more one of the best things about my relationship is that she’s the only person that I see every single day, the person that I spend the most time with, and by far the person I spend the most time alone with. (It’s not and I suspect shouldn’t be for everyone, and other ways of living your life and being happy aren’t any less valid or wonderful, but it works for us.) So why is that the longer we’re together and the more comfortable and right this relationship feels the more my tolerance for this kind of song, which ostensibly takes on very similar feelings, erodes from “pretty low” to “I’m not sure I can stand this”?
[2]

Julian Axelrod: On first listen, I though he sang, “You and I could take over the world one scalp at a time.” My eyebrows shot up. I could see the headlines already: “Tom Walker Cancels Tour After Confessing Colonialist Fantasies.” Why wasn’t anyone talking about this horrifying line? Because it turns out he was saying “one step at a time.” Unfortunately, my imagined controversy was the most memorable part of my listening experience.
[4]

Joshua Minsoo Kim: The instrumentation is way too docile to accompany lyrics about wanting to “take over the world.” “Just You and I” doesn’t seem fitting, then, for anything other than cuddle sessions where you’re casually talking and dreaming big about your future. It could be a cute song, but the affectless singing turns this into music fit for car commercials. Please stop making love sound drab.
[2]

Scott Mildenhall: Tom Walker has an unusual singing voice for a man of his speaking voice, and luckily for him, it just about serves as a point of differentiation from Tom Grennan, Tom Capaldi, Tom Fender and Tom’n’Bone Man. Unfair as that probably is, they are above all united by their indistinctness: an inverse USP. To Walker’s credit, this isn’t lacking lyrical detail — there’s a gently love-affirming story within — but that’s obscured, almost paradoxically, by the determined nothingness of the production. It’s as if they aren’t even angling for montage money, and rather set this out for the specific purpose of going unnoticed in shops.
[4]

Iris Xie: Is Ed Sheeran a genre? This is like if “Shape of You” and Ed Sheeran’s more somber songs were mashed together with drinking metaphors, along with an extremely hollow chorus and a milquetoast build. “Just You and I” is the equivalent to empty inspirational Pinterest pins with a conventionally attractive person that is posing on top of a cliff. Over their glossy verneer, the image is paired with a vapid quote that conveys very little — except for its confidence in scamming people into subscribing to dubious self-help programs. False, empty hope.
[2]

Alfred Soto: Yet another “Thank God I Found You,” with a drum loop so that couples who hate dance music can (a) dance (b) hate dance music some more. 
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