The Singles Jukebox

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[8.00]

Will Rivitz: The good: “Nights” was impressive enough on first listen to impel me to check out some other Snow Tha Product tracks, and man can she spit. The bad: Compared to some of her other work, “Nights” is kinda disappointing. It’s like being introduced to Yeezy through “Stronger” or Ariana through “Break Free” — they’re good songs, sure, but they’re weaker enough than the rest of their discographies that you wonder what might have happened if you’d heard “Power” or “Dangerous Woman” first. That said, the song is still really good. It nails the timbre and bounce of a good mid-career Rihanna radio smash before taking similar cues from self-titled-era Bey, tethered by Snow’s cocksure sing-songy flow. I’m not sure I’d recommend it as the first Snow Tha Product song a neophyte should check out — from my limited experience, that honor should probably lie with “Play” — but it bumps regardless.
[8]

Alfred Soto: As full of promise and anxiety as any night out, this Mexican-American’s pop move borrows the staccato repetitions and electronic undulations from Tinashe but is more alert to dread. “What’s a little liquor when you’re feelin’ uncomfortable?” she wonders, dancing with a guy with moves like Jeremih.
[7]

Taylor Alatorre: Snow tha Product originates from San Jose, but she’s called Dallas her home since 2010. In that time, she’s injected a groundswell of grassroots buzz into a relatively insular rap scene that hasn’t scraped the national charts since “Ice Cream Paint Job.” While she’s most known for her pure spitting abilities — one of her big breaks was a collab with Juggalo affiliate Tech N9ne — this foray into tender-hearted pop rap is both unfussy and unforced, providing further proof of her versatility on the mic. The lyrics speak of drunkenness and “vibes,” but a sense of battle-hardened resolve permeates through the haze, turning potential throwaway lines into sharp, sticky hooks. In the great DIY tradition, Snow approaches pop on her own terms, making the kind of music she would want to hear on a night out without sacrificing her identity in the process. Maybe “Dallas hip hop” is still a chimera without a unifying sound, but I can’t think of a song that better captures the feeling of driving up the I-35 into downtown, feeling a inexplicable sense of pride as the neon-lit skyline unfurls into view.
[9]

Anthony Easton: Almost manic, with a hyperlyricism that is on the edge of unhinged, with a certain cokish charm, and a very good sung chorus. I haven’t heard this reach the summer car speakers north of the border, but god knows it would sound good in mid July heat. 
[9]

Juana Giaimo: As someone who has never heard of Snow Tha Product before, I can say that “Nights” works well as an introduction to her music. Her words flow naturally and with enough indifference to reflect her confidence — but at the same time there is a certain depressive feeling in how bored she is by a situation that should be passionate. Unfortunately, W. Darling doesn’t add much.
[7]

Will Adams: Apparently the solution to my general ambivalence with R&Bass was to have the production and the performer offer just a little more bite. “What’s a little liquor to a cold heart?” is a hell of an intro from Snow Tha Product, and she doesn’t let up from there, capturing the never-stop momentum of a night out. W. Darling’s chorus is necessary only in so far as it adds contrast and conducts the energy between verses.
[7]

Edward Okulicz: Snow Tha Product has such a commanding presence that it seems weird that she lets W. Darling’s meek chorus open the track, because this isn’t a meek song. But that moment where Snow bursts in like a tornado is such a thrill that it works. The track that bursts in alongside her is propulsive and sleek and efficient. In four minutes this packs in some quotable lines, a stack of personality, and starts a story I want to hear more of.
[9]

Cassy Gress: W. Darling has one of those doe-eyed sultry voices that just sort of tiptoes along notes and whispers her ending s’s, and it would be a letdown if not for the percussive “let it end on a night LIKE this.” Meanwhile, Snow tha Product comes off as nothing less than a bad bitch, stomping through this fluorescent-yellow parking garage.
[8]