At least it’s not Mac Miller doing a song with Maroon 5, guys.
Katie Gill: Now this is the Future that I know and slightly tolerate! Slightly slurred words, borderline incomprehensible at certain points, I don’t know what sort of pod person Maroon 5 got for “Cold” but the Future of “Everyday” is slightly back to form. The song itself is cute and inoffensive which are its main perks and its main failings. After all, this isn’t Grande’s first song where the premise is basically “who has two thumbs and has a ton of sex” and the other song with that premise at least had Nicki Minaj saying the phrase “dick bicycle.”
Ryo Miyauchi: “Into You” and “Side to Side” worked because Ariana wanted to keep it all a secret. Even if it was obviously impossible for her to not spill it all from the get go, the change in the rules made her try different tricks. “Everyday,” though, once again taps into her worst tendencies of showing off, going extra to unconvincingly tell the world how “he’s giving me the good shit.” Ariana herself put it best in her other single on how this ought to work: “a little bit scandalous, but don’t let them see it.”
Maxwell Cavaseno: Why does Future always seem more inspired when he makes pop songs than when he’s doing autopilot rap? Why is Ariana doing weird trap-dubstep in this day and age? Why is the way she sings the word “shit” so weird? These questions and more are kind of hard to answer off the merits of this song, which remains the continued development of Grande trying to restrain her voice and performances (a development that might be a bit less effective than anticipated but certainly good at avoiding burn-out for her) and feels less like something that was really MEANT to leave the cutting room floor.
Tim de Reuse: Future sounds positively exhausted when he’s chanting the song’s title, and more in a “oh, shit, I’m late to work” sense than than in the sexier sense that was probably intended — his high, breathy panting in excruciating hard-panned stereo does not elevate the track beyond a decent hook, nor does his structurally incoherent verse. Ariana Grande dramatically la-la-la-ing her way through the chorus knocks it all a few notches further down.
Edward Okulicz: My tendency to imagine pop stars stay the age they were when I first heard and saw them until they show real signs of aging means I have to avoid videos to take Ariana Grande seriously as she’s going to seem like she’s
twelve nineteen to me until she’s nearly retired. Future’s chorus hook gives “Everyday” a nice touch of menace and darkness that’s enticing, and coupled with Grande’s cute mini-diva stylings trying to animate the phrase “good shit” is almost brilliant in how incongruous it is. It sounds really good loud, too.
Thomas Inskeep: This feels like Ariana dropped into a Future song, not the other way around, and I don’t believe a word she’s singing. Future, on the other hand — well, sure. But that cutesy-poo breath-y voice of Grande’s makes it impossible for me to hear her sing about gettin’ it on, sorry.
Katherine St Asaph: A rich, dank grotto of a track, with scuzzy guitar and Ariana cooing up and down the walls. I’ve heard this elsewhere, though, and the comparison doesn’t flatter Future — what sort of good shit might Miguel have brought to the track?
Will Adams: The thread connecting the songs on Dangerous Woman that actually live up to the album’s title is Ilya. “Everyday” finds him in the driver’s seat (Max Martin is only credited as a vocal producer) and, like “Into You,” the results are bracing. The bass is still weaponized, the snares are compressed into firecracker pops, and overall the sweaty, slow grind has echoes of “Pony.” Grande does well with the aural heat, as usual, and if Future’s verse seems like a throwaway, his hook more than makes up for it.
Alfred Soto: With the opening distorted riff and fluttering vocal, Ariana Grande steps into the future, or at least steps up to Future. He’s long aspired to transmit his rueful tales as pure sound, a string of murmured phonemes; he gets his wish.