The Singles Jukebox

Do we?

[Video][Website]
[4.80]

Nina Lea Oishi: What’s the point of having two female vocalists if they’re going to sing exactly the same verse with little discernible difference? But the real issue is how uninspiring most of the track is, the midtempo chorus just plodding along with its cookie-cutter club “dance ’til we can’t no more” lyrics. There is one welcoming burst of attitude, however — the pre-chorus “Do we wanna stop them? Do we let the cops in?” provides a needed dose of rebellion and cheek, hinting at what could be.
[4]

Mo Kim: All the attitude of a prime Fifth Harmony single, one-fifth of the heft.
[4]

Brad Shoup: For a song that warns about the dance epidemic ravaging poor neighborhoods, this is real leisurely. Now that the saxophone belongs to everyone, Stan doesn’t have to wield it like a signature. Now she can make a lovely chorus and the sax tracks her. Inna and Stan are downright devotional at times, and Daddy Yankee’s completely devoted to the plodding electro-swing. 
[6]

Micha Cavaseno: Alexandra Stan owns “Saxobeat” AKA “half the K-pop girl group songs we’ve reviewed, low-key.” Saxobeat doesn’t even exist of course, it’s just bad use of sax samples over clunky EDM, but it’s clear that the two hit combo of Saxobeat and Dev’s “In The Dark” will keep obnoxious rock sax in the mental lexicon of dancepop for more than a couple years. Or at least, producers will rely upon it for a check. Alexandra’s frail performance over the shifts of electro-swing and folk guitar is curious for how much she doesn’t go for the obvious bombast that most of the industry would demand of this kind of single. Then again, Inna does quite well without relying on that sort of shout. And Daddy Yankee provides the most complex flow I’ve ever heard from the guy, proving that while he’s not say “Mistah 3-Oh-Faaai,” he still deserves that global jetsetter money.
[6]

Alfred Soto: Points for the folk interludes rather than for the execution, and the ebullient horn blasts punctuating each of Daddy’s verses offer the best arrangement idea for him I’ve heard in ages. This mishmash may make everyone from Argentina to Monaco dance, but it’s rather studious, no?
[6]

Juana Giaimo: I guess that “From Puerto Rico to Romania” didn’t rhyme so well. However, they didn’t realize that combining “Problem” with cumbia didn’t go very well together either. 
[5]

Thomas Inskeep: From Wikipedia: “Lyrically, the songs speaks about partying, and love.” That said, “We wanna love with the lights down low” is perhaps not literally about love. In the tradition of 2 Unlimited, this is Eurocheese at its, ahem, finest, designed for mass worldwide consumption. Like Stan’s 2009 world-conquering “Mr. Saxobeat,” this is based around a fake sax riff; unlike “Saxobeat,” this features a lightly-picked acoustic guitar atop its beats, as is de rigeur in 2015. Daddy Yankee provides the party rap, better in Spanish than English, and entirely throwaway. 
[3]

Katherine St Asaph: Drained of anything resembling want, or soul, or pulse.
[3]

Scott Mildenhall: With horns that recall Yello’s ineffably comic “The Race,” there is no way this could not be fun. Inna’s Latin turn has been mostly rather turgid hitherto, but this is appealingly lithe. It’s a mix of bouncy ’60s comedy caper soundtrack and 2011-era globetrotting pastiche of the sort that gets lyrical ideas from old episodes of National Lottery: Jet Set, and the “down, down, down”s sound like Paul Johnson. Quietly wonky, resting on a deckchair.
[7]

Ramzi Awn: I meannnnnnnn….I wanna party like everyday too, but it’s not ’bout to go down. Because your song isn’t good enough. It’s almost, like, soccer world series music but also….not. Just unnecessary, kind of. Sorry. The chorus almost made me give you a 6, girls. ALMOST.
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