The Singles Jukebox

That’s OK, we’re sorry for party rocking, B.

[Video][Website]
[5.44]

Will Adams: “Sorry for the Wait” is what I’ve come to expect from this sub-genre of maxed-out electropop: major/minor tonicizations, production that would be dated if not for how in-your-face it is, and a big dance break. None of those elements alone necessarily connotes dullness, but it’s Butterfly’s vocals that slip between the cracks that make this unmemorable.
[5]

Iain Mew: I don’t plan to ever stop loving the dramatic effect of this kind of garish electronic pop (even, no, especially the dubstep break) and the addition of a very LDN Noise house beat to the chorus is a neat 2016 twist. But in a genre which doesn’t make great demands on its vocalists, Butterfly still sounds out of her depth, and the spoken bit kills so much momentum it almost brings the whole thing crashing down.
[6]

Katie Gill: This sounds delightfully 1990s in a way that reminds me of 1990s Madonna and DDR machines — and that was before the chorus dropped! That delightful fun and nostalgia can’t save a pretty bad rap break and the fact that if she really loved those Jordans, she wouldn’t be sitting on them. Gotta keep that shit pristine, girl.
[7]

Alfred Soto: More hairpin turns than a mountain road, scarred by a pedestrian rap but not by much. I can believe Grimes studied tracks like this.
[6]

Cassy Gress: Butterfly isn’t a particularly strong singer, and her feathery falsetto doesn’t match the tone of the chorus very well. Not to mention, the producers threw in a rap and a dubstep breakdown in the middle just to make sure they covered all their bases. This song feels like it tried so darn hard, though, that it makes me feel like a meanie to be overly critical of it.
[4]

Thomas Inskeep: Electropop that sounds like 1997 Robyn covering 1993 Robin S’s “Show Me Love,” only a bit messier.
[5]

Katherine St Asaph: I can’t tell whether I like this because or despite of it eerily resembling a Jessie Malakouti megamix.
[6]

Edward Okulicz: The metallic throb behind the chorus reminds me of both Robin S’s “Show Me Love” and Livin’ Loy’s “Dreamer,” (unimpeachable classics both) and the beats are enormous and gratifying. “Sorry for the Wait” is expensive-sounding, imposing and extravagant, all fine things for a pop banger to be, but it doesn’t quite come together because Butterfly herself sounds like an insect caught in front of a wind machine.
[5]

Leonel Manzanares de la Rosa: The laser-sharp synths and all the pre-chorus syncopation demanded a vicious, battering hook, and instead we got a beat that’s just not tight enough and the laziest vocals conceivable. It’ll get a bonus point for the bridge — i just can’t resist a good trap triplet here and there.
[5]