Friday, February 28th, 2020

Luke Combs ft. Eric Church – Does to Me

Extremely FKA Twigs voice: Why didn’t this song do it for us…


Brad Shoup: The tune jangles forth like a late-period Springsteen processional, with Combs’ hard-luck narrator lifting hard-won little trophies. When Mr. “Springsteen” himself takes a verse everything turns honey. Combs struggles to temper his vocal bite — he’s not always successful, but he tries, and that does mean something to me.

Thomas Inskeep: Musically this is reminiscent of prime-era Bob Seger, which makes a lot of sense for both Combs and his guest Church. Lyrically it’s a little bit John Mellencamp, and a little bit Kenny Chesney channelling Mellencamp. And all around, this works smartly.

Alfred Soto: Listeners will get the wrong idea from his appearance here thinking Eric Church traffics in Luke Combs’ blah sentimental crap — his sentimental crap has a dialectical tension between delivery and arrangement, between lyric and vocal. So long as Combs lets the piano line and guitar peals signify like he can’t — here’s looking at you, Tom Petty and the Heartbreakers — he’s in good shape.

Michael Hong: Something about this reminds me of Christmas: maybe it’s the warm lens of nostalgia, or perhaps how the opening instrumental sounds like it could have been supplemented with some sleigh bells. Perhaps it’s how “Does to Me” feels like one last-ditch confession to a lover worthy of a Hallmark Christmas special. It works pretty well, but would probably work even better if Combs didn’t follow-up the line “but I’m a hell of a lover” with “a damn good brother.”

Andy Hutchins: Multiple listens in, and I still can’t figure out whether Luke Combs would have voted for Trump, and/or whether he’d be proud of having a black friend. I’m pretty sure Eric Church didn’t and wouldn’t, but he’s also not doing anything worthwhile here, just lending a little external credibility to an unnecessary anthem for those who need to take pride in doing the minimum.

Katherine St Asaph: I’d say the chorus dunks on itself, except it — the whole song, really — is so shaggy and directionless that dunking’s quite above its energy level.

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