The Singles Jukebox

But feel free to leave me “Barracuda.” Or $100,000,000. Your call really…

[Video]
[4.00]

Iain Mew: As the carousel of a handful of the biggest producers and the vocalists of the moment goes faster and faster, each new combo struggles to be novel. Perhaps that’s why this also sounds more like Marshmello than Marshmello does at the moment, or did with Anne-Marie. It’s maybe better than sounding like David Guetta.
[4]

Alfred Soto: A pity that Guetta saddles Anne-Marie with lame please-don’t-leave-me’s and Autotune tricks that T-Pain abandoned in the late Bush II era.
[3]

Alex Clifton: It’s not co-written by Ed Sheeran, so already Anne-Marie’s off to a good start. She slurs so much during the first verse that I had to look up the lyrics to understand what she said, but by the final chorus I’m close to believing her. One point deducted because my dumb ass thought “even when I’m cold” meant she was worried her partner would leave her anytime she wasn’t wearing enough clothing during the winter, and the video didn’t really disprove that.
[4]

Will Adams: I cannot get past this one line in the first verse: “…while you’re sitting on my chest.” Sitting??? Is this about a dog? If it is, this is a [9]. If it isn’t, then this is another example of an Anne-Marie song that’s been derailed by the details. David Guetta, meanwhile, is settling into is talkbox-EDM phase adequately, but there’s more emotion to be found in other yearning producer-singer team-ups.
[5]

Katherine St Asaph: Ascribed to David Guetta, sung by Anne-Marie, sung like Julia Michaels, written and demoed by Noonie Bao and Sarah Aarons, co-produced by Linus Wilklund, processed like Zedd’s “Stay” (a Wilklund co-write), and surrounded with Marshmello’s chart goo, given words from Lifetime movie obsessives and EDM-pop masochists and more nuanced Pink songs. Much great cinema, TV, gaming, publishing, theater, and probably cave art is produced with this kind of assembly-line model — because that product isn’t this.
[4]

Jacob Sujin Kuppermann: Anne-Marie and Guetta are more tolerable than I usually find them, but their union feels even more anonymous than most EDM-pop crossover attempts. Also, I can’t tell if the vibe is supposed to be “romantic bliss” or “codependency,” which is rarely a good sign.
[3]

Edward Okulicz: Makes co-dependence sound bouncy and almost inviting, which is an act of purest evil. Catchy evil.
[5]

Joshua Minsoo Kim: A plea to extend an unhealthy relationship that fortuitously benefits from its musical trip down memory lane. That dated instrumental break forces listeners to reflect on EDM of the past few years: a perfect complement to Anne-Marie’s own urgings to consider a future together through a reflection of the past.
[5]

Stephen Eisermann: I can imagine David Guetta’s pitch about this song: imagine every electronic pop song that’s gone to #5 at top 40 radio in the last year mashed together, but worse. And, hey, he’s not wrong.
[3]