The Singles Jukebox

She says, “Hello, you fool, I love you…”

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[6.00]

Jonathan Bradley: After her submerged and shimmering debut Aquarius, “Superlove” is Tinashe breaking the surface: her giddy hook floods the track like oxygen. She’s smitten and sounds it, though with that beat skipping like a teenage heart, she can’t help but also sound a bit dazed by the whole thing. That spaciness doesn’t extend to a rap verse that has her sharp as she needs to be while daydreaming about Paris and saying a little prayer. This is drawing-hearts-on-a-notebook kinda music — and it’s also hitting-repeat-and-drawing-some-more kinda music. Be glad not everyone has succumbed to these dour times.
[7]

Alfred Soto: With The-Dream and Tricky Stewart behind the boards, “Superlove” is friskier than is Tinashe’s wont, and in the “you know you know you know” hook I get shades of Ciara’s hits a decade ago. A trifle, and maybe just the thing that gets her into the top ten.
[7]

Ryo Miyauchi: Terius Nash is too audible for me to fully commit to this. Nothing bad about him, I just want Tinashe to get her props by sounding like Tinashe. But what makes me sit through the rest is her slanting rhymes like Kendrick self-censoring in “Fucking Problem” and how she whips around “grind” like she’s pantomiming a steering wheel — moments where she’s not just doing The-Dream/Tricky Stewart karaoke.
[6]

Juana Giaimo: I enjoy that Tinashe tried to do a sweet and sugary love song — and her delicate vocals fit it beautifully —  but I wish her lyrics matched it, instead of looking to be naughty with lines like “Banana all in that split.” 
[6]

Will Adams: Okay, yeah, nice 8bit hearts and all that, but the thing about “Super Bass” was that it had a chorus.
[5]

Thomas Inskeep: “My Boo” 2016, it wishes, but it’s a bit too frantic.
[5]

William John: At this point we are about as likely to hear Joyride as we are to hear Boys Don’t Cry or that new album from The Wrens. Tinashe’s label RCA had a logical business strategy option this year: following her feature on anti-party campfire anthem “All My Friends,” a huge hit in the UK, Australia, and across Europe, an album release in the early summer would have been a sensible way to capitalise on that momentum. Instead, after a tour cancellation and months of silence, she’s suddenly been thrown on new singles from names as divergent as Enrique Iglesias, KDA, and Davido, and her own album is being relaunched with this feathery “My Boo” nostalgia. It’s sweet, glossy and resolutely fine, but when the author is Tinashe, “fine” scans as “disconcertingly insufficient.”
[6]