The Singles Jukebox

Well…maybe?

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[6.00]

Brad Shoup: Perhaps David will become the new Nile, in that he’ll consistently be the most interesting rhythmic/melodic thing on your half-assed dance-pop track.
[5]

Katherine St Asaph: The chicken-egg of producer-vocalist politics: does Craig David own this because of the huge track showcase Blonde gave him due to his celebrity, or does Craig David own this because he’s just that much of a presence? I’ll ponder, we’ll all dance.
[7]

Iain Mew: “Nothing Like This” suggests that if KOREAN GROUPS [ARE] MAKING BETTER HOUSE CROSSOVER RECORDS THAN THE ENTIRETY OF THE UK (thanks Maxwell), one answer is just to take their pulsing chorus and bring it back here for the man of the moment. “View” had British producers too, to be fair. 
[6]

Thomas Inskeep: I never would’ve pegged 2016 as the year of the Craig David comeback, but there you go. Credit some of it to smart choices: first the Big Narstie collab from the end of last year, and now this one with Blonde, who’ve gone from strength to strength with “Nothing Like This.” Instead of Ultra Naté circa ’92, here they’ve gone, well, Craig David circa ’01, and ain’t it funny how much 2-step has in common with house as seen through today’s musical prism? Fine marriage of song and singer. 
[7]

Alfred Soto: Trying to inject what he considers “soul” into a decent house track, Craig David lets the strain show. What, were Moka or Red Velvet unavailable?
[5]

Cassy Gress: Craig David sounds more like his 2002 self again, over yet another 1990 house beat. The great thing about these songs is that if they don’t make you want to dance (which, why not?) they’ll at least make you imagine other people dancing. Mission accomplished.
[7]

Scott Mildenhall: Blonde are very lucky to have someone with a voice like Craig David’s on a song as inert as this. It’s practically a showcase for him and little more, for there’s virtually no chorus and “All Cried Out” was bursting at the seams, but this serves only as another stop on the way to David’s ultimate redemption and the closing scene in his biopic: winning 2017’s Best Solo Male Brit.
[5]