Song title *handshake emoji* score…

[Video]
[6.64]

TA Inskeep: I love the lyrical conceit of this. It’s a bit off-brand for Usher, who even admits in the first verse, “Usually my exes turn to enemies” — and who’s recorded more songs about their exes? But this is so positive, across Usher’s, Walker’s, and 21’s verses; it’s also quite buoyant for a defiantly midtempo record (that bass thump is doing a lot of work). Walker sounds great alongside one of the great R&B artists and singers of the past 30 years. Even 21, whom I usually scorn, fits right in here. Genuinely superb R&B. 
[9]

Dave Moore: A solid breakup jam, albeit a little Madame Tussauds — but I would pay to see Usher’s likeness there and maybe, if the guards aren’t looking, touch his abs. Diminishing returns for collaborators, though; I wish 21 Savage would just start licensing his name for songs without feeling obligated to rap on them. 
[6]

Jeffrey Brister: Love changes as you grow older, and sometimes saying what you feel can be a little goofy. But being vulnerable and honest and direct can transform corniness to earnestness. The lyrics are silly but affecting, mature and heartfelt. There’s history behind them, lessons learned from pain. And it’s also got a pitch perfect sex-jam production, which is the kind of delightful irony that I can get behind.
[8]

Alfred Soto: Usher’s best album since 2004 has stronger jams, the mid-tempo ones especially. His forked tongue of a falsetto flicks at this by-the-numbers breakup jam. Summer Walker’s fine. 21 Savage offers to help her pay for a salon. That’s generosity, folks.
[7]

Daniel Montesinos-Donaghy: The key figure behind this sweet mid-tempo jam is Nija Charles, a Grammy-nominated songwriter that’s also behind some other songs you may know. On her Youtube account, there’s a video from summer 2022 showing her working through the creative process in a studio. At one point, the video mutes and the subtitle “NIJA FINALIZING AN USHER RECORD” pops up; with no other credits on Usher’s latest LP, let’s assume “Good Good” was being developed at this point. Moments later, a snippet plays with Charles’ voice: “kissing the past goodbye […] / we can’t be friends.” (Internet sleuths believe this song will be on Ariana Grande’s upcoming album.) “Good Good” is a warm handshake that sounds genuinely sincere coming from Usher and Summer Walker (21, not so much), but it’s also interesting in the wider context of Charles’ career, exploring both sides of an emotional situation. Sometimes you stay friends, and sometimes you just don’t.
[7]

Nortey Dowuona: LA Reid started as a drummer for Pure Essence, then a drummer for The Deele, which led him to form a label with Kenneth Edmonds called LaFace co-funded by Clive Davis. And then he signed 14 year old Usher Raymond IV, held onto him after he lost his voice, then sent him to Diddy. After the mixed success of Usher’s self-titled debut, co-executive produced by Diddy, Reid relaunched Usher’s career with My Way, his partner Kenneth an executive producer. I’m saying this to say, there’s a reason I am rating this pretty solid 8 song a 0, I hope you look up Antonio Reid and Drew Dixon and I will say no more on the matter.
[0]

Aaron Bergstrom: Producers Mel & Mus stretch out a pleasantly nuanced tightrope of simultaneous attraction, heartbreak, and nostalgia, and one at a time Usher, Walker, and Savage step out onto it. Usher can’t make it through the first two lines of the hook without equivocating, and even though you probably ain’t getting back together, he’s going to leave the door open a crack. (Come on, remember how much your parents love him? What, are you just going to start from scratch with some new guy?) Walker wants that door shut but she wants you to shut it, and honestly the sooner you find someone new and move on, the better. (Now, has she found someone new? That’s none of your business.) Savage is taking big swings all over the place, and while they don’t all hit (I’ve never paid for a woman’s plastic surgery before, but I’m pretty sure you’re supposed to keep that to yourself) you have to give him credit for exploring new dimensions of partnership (If you can’t go halves on a baby, why not go halves on a salon?). Honestly, I’m rooting for all three of them.
[7]

Oliver Maier: One of those collaborations where the whirr of corporate gears seems almost to drown out whatever nice things might be happening underneath. As far as I can make out: Usher is Ushering pleasantly, Summer Walker is SZAing adequately, 21 Savage is… starting to feel something like this decade’s Big Sean? I really want to do a qualitative adjective (qualitative adjective) line here but that’s obviously going to be the subheader joke and everyone else is probably going to do one too.
[5]

Katherine St. Asaph: Usher’s Dorian Gray painting must be found and studied.
[7]

Brad Shoup: I had to do a triple-take at the end of Walker’s verse — I thought she was singing “lovers & friends.” That’s the power of Confessions, I guess: twenty years later, a slow-jam single that I thought was a sly inversion of “Yeah!” still has legs. 
[7]

Will Adams: Usher in confessional mode still works; “Good Good” captures the bittersweetness of quashing feelings for an ex in favor of taking the high road and being okay with that. It’s not until 21’s verse where the “haha just kidding… unless?” subtext surfaces, but the placement following Usher’s and Summer’s verses serves as that dormant yearning that adds an additional dimension.
[7]

Jacob Sujin Kuppermann: A total masterpiece of guys lying to you — perhaps the finest example of the form since “Suspicious Minds.” When Usher says he’ll be happy when you find another? A lie. When Summer Walker says she doesn’t do drama? A misdirection. When 21 Savage promises to fund your small business? A total fabrication.
[8]

Ian Mathers: This is easily the most I’ve ever related to Usher. I told my ex that last sentence would probably be most of my blurb and she agreed I should go with that.
[9]

Isabel Cole: I have in fact long believed that there should be more songs about being on decent terms with an ex.
[6]