The Singles Jukebox

We’re not quite ready to yet, Rita.

[Video][Website]
[5.43]

Joshua Minsoo Kim: Co-producer easyFun has always been one of the best PC Music affiliates but if you strip everything that makes his music enthralling (namely, the Rustie-esque maximalism), the result is some of the most hollow-sounding pop out there. So the issue here is two-pronged: PC Music without the gimmick is nothing, and not working with Rita Ora’s nothingness is an obvious mistake. Considering that “Let You Love Me” is often at the brink of catharsis but is stamped out by a deflated chorus, it just feels like a missed opportunity. On the bright side, that’s congruent with the lyrics.
[4]

Alfred Soto: I embrace this sentiment and want more songs using this phrase. In Rita Ora’s hands, though, “Let You Love Me” is the usual abandoned building project: lowest common denominator electronic tropes, underwritten chorus.
[3]

Taylor Alatorre: This is just “I Will Never Let You Down” with the perspectives flipped, which is fine because “I Will Never Let You Down” is Rita Ora’s best song. For all the talk of her indistinctness as a brand, this is her wheelhouse: candid dissections of a relationship’s inner workings and failings, of the type usually found in indie rock confessionals, set to a stylish dance production that supplements the message rather than drowning it out.
[7]

Juana Giaimo: “Let You Love Me” starts quiet with Rita Ora’s calm voice confessing her inner conflicts when trying to start a romantic relationship. But as soon the chorus starts, the beat comes in and her voice gets louder and out of its vocal range, sounding too forced and losing all the intimacy it builds in the verses. 
[5]

Juan F. Carruyo: I guess the appeal of this track is that Rita only wishes instead of fully acting on her desires, thereby rendering her appeals for devotion relatable. Perfectly cromulent track otherwise. 
[4]

Matias Taylor: The way the main synth riff changes from wide and hollow during the verses to a laser-like electronic dot in the chorus is just one small example of the aural crack overflowing from this superb modern pop craftsmanship display. Another, showing exactly how to make a transition from pre-chorus to chorus: retaining the basic melodic structure of the riff (already catchy on the first play) while the melody points upwards and upwards, elegantly segueing into the chorus. Call it formula but there’s a reason it works; the songwriters and producers know exactly what they’re doing, and Rita nevertheless makes it her own — the way her voice quivers on “I wanna say I’m sorry,” as if she just might this time. 
[8]

Edward Okulicz: Ora’s an artist where I think that critical opinion badly lags the popular one. Based on her recent run of singles, her voice has more angles than I’d previously noticed, and she almost sounds like a completely different singer to the one that did “Anywhere.” It’s hard to sound small while you’re singing big, but Ora pulls this trick off nicely — a confident actress doing an unconfident role. The production is strong, built upon a short and gritty but catchy rigg, and the only thing that pulls the song down is that the chorus leans a bit heavily on repetition. 
[7]