The Singles Jukebox

Guetta the devil you know…

[Video]
[4.57]

Wayne Weizhen Zhang: An decidedly anonymous dance track with the durability and memorability of single-use plastic. 
[3]

Alfred Soto: “Generic” is the point of Guetta. When that house piano pounds out another predictable chord sequence, however, the track takes a self-reflexive turn: “Remember” becomes an ode to other Guettafied productions, which makes the wistful chorus earned. 
[5]

Mark Sinker: Maybe I’d feel prouder of myself if I could learn to detest Guetta a bit more. Yes, every single item is passed through the exact same moulded sonic banding, and it all emerges brightly striated in the exact same way — and here’s me smiling and nodding away, same as ever.
[6]

Thomas Inskeep: I’m not sure how long the UK can keep cranking out uptempo house-pop in three-minute slices like this, but when it’s this ebullient, who cares? Hill does a great job making this kiss off an “I Will Survive” for 2021.
[7]

Samson Savill de Jong: I don’t know if people remember or care about such things, but there was this discourse in video games a few years ago about “ludonarrative dissonance”. The term was about describing a perceived contrast and disconnect between a game’s story and gameplay (often when one was trying to be serious and deep whilst the other was goofy fun). This song deserves to be hit with the equivalent label for music. Over the top of a generic, triumphant, extremely David Guetta beat, Becky Hill sings about continuing to pine for an ex that she’s better off without. The lyrics and song don’t match because it sounds like she ought to pushing through and finally breaking loose of these memories, but that’s not what she’s saying. Having the lyrics and music contrast can work when it’s done intentionally, but the contrast here feels due to the fact Guetta is incapable of making any other track than the one shit beat he’s been producing for over a decade.
[2]

Tim de Reuse: While mostly unremarkable, this track has illuminated a heretofore-unexplored tonal dissonance between shiny rave pianos and the act of moping by your awful ex’s house in the rain.
[4]

Ian Mathers: I honestly thought David Guetta had left music for political activism so, at least in one sense, this was a nice surprise.
[5]