The Singles Jukebox

Nostalgia for dance floors past.

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[6.12]

Katie Gill: At this rate, I’m starting to wonder if MØ has a contract written in blood that states all of her songs need to sound like they’ve been produced by Diplo even if they haven’t.
[4]

Iain Mew: Finally, four years on from “Maiden” and the other side of multiple Diplo collaborations, she’s achieved her first solo hit. And all it took was abandoning all lushness and mystery to jump on several of the moment’s dullest dance trends at once!
[3]

Will Adams: Dang, DJ Earworm finished his year-end mashup early.
[5]

Scott Mildenhall: All the alluring, wavy-handed mysticism that precedes the chorus bolsters its revelation that MØ is fighting, not just for the relationship itself, but for it to be one of wavy-handed, mystic heights. In fact, having actually looked into it, it’s not a relationship she’s talking about, but wavy-handed mysticism alone. If anything, that’s all the better. The pure joy exuded by “Final Song” is for no more or less than the elevated contentment it can bring.
[8]

Alfred Soto: Self-referential for the sake of a stiff upper lip, “Final Song” glides on MNEK’s thick, galumphing production and the Danish singer’s getting into the spirit of the proceedings. At times she even summons Belinda Carlisle in her ability to sound poised but open to the moment.
[7]

Juana Giaimo: I hear things in “Final Song” that maybe aren’t present in it. I hear the consciousness of the fleeting nature of moments. I hear fear in MØ’s vocals as she waits for the unavoidable end. I hear her need to keep a state of ecstasy as long as possible because everyday life is just too empty. I hear her urge to convince other people to help her do this as if she was the last girl on the dance floor trying to convince the rest of her group to join her. I hear nostalgia for a moment that hasn’t still finished in the loneliness of the first lines: even while dancing and enjoying these moments she knows there’s always a final song.  
[9]

Brad Shoup: There’s banging but it doesn’t bang. That’s due to MØ and MNEK chopping up a drum machine instead, blessedly, of pitching her vocals to the four winds. She sings about loss, and her vocals are definitely coming up short in the mix: she’s straining to make her stand in this club. But for all the talk of soul-loss, she sounds quite centered, letting out a hopeful coo that wouldn’t sound out of place on an ’80s Fleetwood Mac single.
[7]

Thomas Inskeep: Sounds more Diplo than MNEK and a touch underdone compared to the glories of “Kamikaze.” But MØ is in fine, weird voice as usual.
[6]