The Singles Jukebox

Moving swiftly on, we have a Colombian folk-pop band that likes to shout its choruses…

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Alfred Soto: I don’t have much patience for stadium-ready acoustic singalongs and the lyrics don’t support a second look.
[3]

Iain Mew: You don’t need to tell me that so close in my ear dude, it’s kind of creepy… Same goes for your friends… No need for you to all shout either!… Stop, please! Please?
[2]

Ramzi Awn: Rousing choruses in the literal sense of the word often make for an unwelcome addition to a pop song, and I’m not convinced Morat offers an exception with “Cómo Te Atreves.”     
[5]

Jonathan Bogart: Can we make a rule that no one more than five hundred miles distant from Nashville can be allowed to ever touch a banjo again? That wouldn’t sort out all the problems with this shit song, but it would be a start.
[1]

Will Adams: It’s bad enough that the chorus ends in a train wreck of syllables and the banjo gets all up in your face. But what makes “Cómo Te Atreves” truly toxic is how it fixes the spotlight on some of the most unpleasant shouting this side of Imagine Dragons.
[2]

Ryo Miyauchi: A stadium-rock-ready chorus hasn’t stuck a landing this well since One Direction, though their arms aren’t so open arms to love as the boy band’s. Morat rather pushes it away, and their hollering stings with a poignant drop of anger that’s usually the opposite for a chorus built like this.
[6]

Peter Ryan: I don’t even think grafting Paulina Rubio and her production trappings onto this could make it charming or punchy, but the least they could do is switch the Juan Pablos’ vocal duties (Villamil should get lead always, Isaza should be relegated to bridges and interjections). It would still reek of stompy petulance, but at least Villamil knows how to approximate that feeling.
[2]