The Singles Jukebox

We think we need one for enduring Wiz.

[Video][Website]
[5.88]

Katie Gill: The trying-to-escape-from-kidpop-by-sayingfuck trend strikes again. Compared to previous offenders, though, this is actually halfway good. That chorus is infectious and, aside from the weirdly awful prechorus, the song shows just how strong JoJo’s voice is and always has been. The biggest downside is Wiz Khalifa who further cements his status as the rapper who you call when you want a phoned-in rap break.
[6]

Iain Mew: Wiz Khalifa added more and sounded more engaged recently on a song mostly in Mandarin, but him aside there’s quite a bit to like. There’s the icy creep of the guitar for a start, but especially the fake out entry to the chorus where JoJo sounds like she’s about to explode into anger but instead continues to maintain exactly the same level of simmering contempt even while singing “fuck.”
[7]

Anjy Ou: Jojo sounds like she’s so done with this dude she can’t even be bothered to write a more scathing takedown for him. The line about telling two lies just to prove you’re right hints at a nasty piece of work, but I don’t feel angry enough on her behalf to yell “fuck apologies” along with her the way I yelled “GET OUT – LEAVE!” at her concert last year. The Wiz feature is probably for promo only and is fittingly unremarkable. As far as “middle finger to your ex” songs go, I prefer mine with sharper, bloody teeth. 
[4]

Alfred Soto: So present does she sound on the chorus — restrained even when growling — that I’m tempted to give the rest a pass. 
[6]

Katherine St Asaph: Another #lowpology2016 anthem JoJo sings the absolute hades out of; you’ve just gotta get past Wiz Khalifa’s half-assed “I ain’t apologizing for shit” and the intro sounding like Wario Land II.
[7]

Patrick St. Michel: A pleasant if ultimately forgettable exercise in being self-assured, nearly ruined by Wiz Khalifa’s opening impression of Eric Cartman.
[4]

Ramzi Awn: A surprisingly oversimple offering from JoJo, who set the bar exceptionally high for herself with her most recent tringle. 
[6]

William John: Adult Jojo’s music has explored the balance – both performative and real – between strength and vulnerability. Confident, eye-popping vocal runs on “Demonstrate” mask the narrator’s acknowledged sexual anxieties (if only all of us taciturn folk were capable of such melisma), and on her revelatory “Marvin’s Room” flip, braggadocio and sad eyes were juxtaposed to devastating effect. Yung Jojo was both gleefully brusque and a radio mainstay, so it’s no surprise that for this, the beginning of her actual, real-deal comeback, we’re returning to that formula. This is a tidy, uncomplicated kiss-off and my instinct is that, given context, something louder and shoutier might’ve made more impact. But after years in wretched record label hell I trust Jojo to best judge how to format her catharsis.
[7]