The Singles Jukebox

Q: Do our new writers like Ryan Tedder? A:

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[4.58]

Alfred Soto: To hell, I hope.
[3]

Hannah Jocelyn: There’s one interview I distinctly remember where Ryan Tedder taunts his secret ability to, if he so desired, “surprise the hell out of even Pitchfork,” before concluding that he wouldn’t really care enough to do that. Fast forward two years (as well as five million copies of Native) later, and this new song is as close as he’s ever come to sounding “cool.” Tedder’s version of cool is fascinating; “Wherever I Go” is much messier than he usually does with this band, to the point where the normally predictable up-the-octave chorus feels both unexpected and earned. The ending could be punchier, but there’s some real experimentation going on, and that’s commendable.
[8]

Patrick St. Michel: I skipped over a tab after opening “Wherever I Go,” and the song I heard was a hard-hitting rock number. Has OneRepublic — gasp — shifted things up? Turns out that was the pre-roll ad, and “Wherever I Go” simply imagines what OneRepublic probably think OneRepublic would sound like if they got more aggressive.
[4]

Thomas Inskeep: (Maroon 5 x Coldplay) + (Adam Levine’s ambition x Chris Martin’s need for attention) – (charisma + talent) = OneRepublic
[1]

Katie Gill: Are we sure this is the same band that did “Counting Stars” and “Secrets”? This sounds like someone wrote a song for the Weeknd, he rejected the song, and then they foisted it off on OneRepublic. I get that artists change and styles evolve. And hey, this is actually a semi-decent song. But this is so drastically different from their previous stuff that I’m downright BAFFLED.
[5]

Katherine St Asaph: I take it Tedder’s been pitching songs to Zayn? Been Googling “tropical house” lately, too? How’s that counting dollars going?
[4]

Scott Mildenhall: Ryan Tedder’s niche as the melodic face of stalking is so well-carved that even Adam Levine leant on him for “Maps.” When that was somehow released at the same time as the far superior “Love Runs Out,” it seemed like a clerical error, but evidently endless repetition is not a problem — it even shows the kind of persistence the songs are about. This one was best when it was called “Grounds for Divorce”, but the OneRepublic-classic concealed dance beat is a neat addition. It plugs with some force into the reliably big chorus, over-reliance on which is the main sticking point.
[7]

Cassy Gress: You know how sometimes, a song that has emotional resonance in the studio will get performed live so many times that it evolves into a giant yelling singalong? I think Ryan Tedder skipped the emotional resonance bit and moved straight on to yelling.
[4]

Will Adams: Could someone attach a shock collar or something to Ryan Tedder that zaps him every time he reaches for the reverb knob saying, “Needs a little bit more…”? It’s hard to hear whether this is a good A Head Full of Dreams demo or not. (Which: this song would be fucked either way, but I’m still curious.)
[3]

Brad Shoup: If this were a U2 song, I’d give it a [6] — hell, [7] if Bono could get near the high notes.
[5]

Megan Harrington: Whether or not the collective internet is with or against Tedder — Tedder the person, Tedder the songwriter, Tedder the producer, what’s the difference? — the fact remains that he’s a genius. So toss a pithy criticism like straw on the bonfire. Tedder’s fireproof. 
[8]

Taylor Alatorre: 2016: “I liked them better when they were trying to be Mumford & Sons.” 2013: “I liked them better when they were trying to be Coldplay.” 2010: “I liked them better when they were trying to be the Fray.” 2007: “They’re okay, I guess.”
[3]