The Singles Jukebox

“Radio play” joke goes here…

[Video][Website]
[5.17]

Megan Harrington: Based on the opening minute, I expected a sturm und drang ballad, but “Único” is high grade pop. Lali is more dedicated to dancing than to sadness but her desire is split along that fracture. 
[7]

Cassy Gress: The main bulk of the song is a shruggy [5], the music punching away while Lali’s vocals are a significant comedown from our recent talks about the emoting power of Beyoncé and Rihanna. But then she decides she’s AWOLnation for some strange reason.
[4]

Madeleine Lee: I was ready to write this off as by-the-numbers ballad howling over dance floor drops, but everything from the rapping part onward took me by surprise: the real swagger in Lali’s voice, and the dissonant storm of percussion.
[6]

Alfred Soto: Stadium balladry is fine by me; it’s when a ballad gets lit at an electronic music festival that I hesitate.
[3]

Brad Shoup: The waterfowl cries are a Jack Ü hallmark; in the refrain, the sax hits and evaporates like summer rain on the sidewalk. Lali rages that love is not enough.
[5]

Juana Giaimo: Argentina needed Lali. Our pop scene was outdated and consuming mainly international stars. However, far from finding her own voice, she’s been taking ideas from the latest trends of the anglo music scene. In “Único,” her passionate vocals remind me of Demi Lovato while people can’t stop comparing it to Jack Ü’s “Where Are Ü Now.” The spoken bridge and her sudden screams little have to do with mellow words, while the EDM drop aims to be epic, but falls rather flat. I support Lali, but the problem is that I can’t still find a better definition than the filler of a blank space.
[6]