The Singles Jukebox

Maybe work on that plan?

[Video]
[4.83]

Ian Mathers: Every so often someone goes back and looks and says “hey, you know how the public memories of ’60s pop music is all the Beatles and shit, well there was actually a bunch of very successful stuff that your parents were listening to that nobody remembers now.” The more successful she gets without ever feeling an iota less generic, the more I am convinced that Jess Glynne is the exact equivalent of those acts.
[3]

Scott Mildenhall: It’s scarcely credible that Jess Glynne has occupied 95 per cent of non-soundproofed space for more than five years now, and yet she and her casual affirmations of uncomplicated devotion seem as essential as the air that carries them. It remains unclear what brought her to this mission, but it has become her life’s work: to tell the world unobtrusively — kind of — that there is love in the world. For as long as Jess Glynne is around, you don’t have to walk alone.
[6]

Ashley John: A few months ago, I would have given this song a middling review: just another summer dance jam that will be forgotten as quickly as it came. However, to the surprise of everyone I know, and more so myself, I’ve become a total sucker and fallen in love, making this track giddily relatable.  With her broad, sweeping voice, she makes small moments large and all-encompassing. Like the feeling it describes, “One Touch” is commonplace but still booming and charged. The song takes a takes a tiny gesture and create a castle for it. Glynne and Jax validate the butterflies I get waiting excitedly at the bar for him to walk in, the rush at a simple hand on my back. 
[6]

Edward Okulicz: This throwback is a perfect use of the emotional foghorn that is Jess Glynne, who I find a little much in most surroundings. But these surroundings suit her perfectly so she sounds excited rather than like she might smother you with a pillow if you don’t love her back.
[7]

Katherine St Asaph: I have wasted an inordinate amount of time in the past month on Ganbreeder, generating photos of cloaks generated from photos of dogs or coral or upholstery. So I can now reverse-engineer “One Touch”: generated from “We Found Love,” “Take Care,” and “Time of Our Lives.” Sometimes the source material is much better.
[5]

Alfred Soto: For several years, Jess Glynne has specialized in the most received ideas about dance-inflected pop: empowerment cliches given what she thinks is soul over beats that the average person with taste and smarts could assemble with her laptop. “One Touch” continues this impressive record.
[2]