The Singles Jukebox

Big country hit has a great new metaphor…

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Cassy Gress: I wonder if the concept of love being an intoxicant came originally from people who liked intoxicants, or from people who were trying to sell love as a more noble alternative to the harder stuff. How old is that metaphor, anyway? Google probably knows. These are the things I think about when listening to yet another drunk/high on lo–oh for fuck’s sake, he just said “I’m, so, drawnnk.“
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Iain Mew: The washed out intro being wiped out “the second she walked in the door” is a nice touch in a song that’s presenting someone as transformative. It’s funnier still when the same accordion sounds only come back for a final “I’m so drunk,” like the whole thing was the product of being too drunk to realise that it wasn’t on love. It’s at least a slightly more unusual way round to play the metaphor, and Eldredge bundles through the song with a convincing edgy ebullience.
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Anthony Easton: Eldredge hasn’t quite broken through yet, which is a shame. Though the production is a little repetitive, his voice is warm and he knows how to work a phrase. 
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Patrick St. Michel: The concept is already pretty well-worn, but geez, Brett Eldredge barely tries to do anything with it. “Drunk, drunk,” “love, love, love,” “why, why,” this is an exercise in laziness.
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Alfred Soto: I thought he was signing “drunk on your truck,” which, you know, fine.
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Brad Shoup: Eldredge’s lovedrunk is as wooze-inducing as an afternoon nap: he’s repeating a bunch of words, but that’s just slight disorientation. A promising arrangement of mandolin, accordion and bongos ends up humming like an AC unit.
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