Focusing on the much bigger things we are doing, some throwback R&B, a genre including Bruno Mars (of which this Tune is part)…

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[4.67]

Alfred Soto: She has to get all sultry over vehement rim shots, but the former Fifth Harmony member testifies with conviction in this adequate need-you-now R&B track. The blankness is a plus.
[6]

Iris Xie: This sounds like a Type A perfectionist who studied 90s R&B and had to make a song for their final thesis, but forgot that there were things called ease, groove and relaxation that help balance out the intricacy of that style of production and vocal run. Also, that last “lil bitch” is just so awkward — if you have to phone in your frustration at doing the most, at least direct it at the subject of the song itself. I got a bit of a jolt because it sounds directed at me, the listener, and that’s really a sour feeling to come away with. The suffocating nature of “Heard It All” was already irritating enough to sit through; I don’t need desperate, misguided harassment to understand what Dinah Jane is upset about.
[2]

Ian Mathers: The most interesting thing about this song is trying to resist the urge to use its own title to dismiss it (I failed, clearly).
[5]

Will Rivitz: Can we take on Dinah Jane as a TSJ staffer? She’s done my job for me on this song, and I like not having to work.
[3]

Katherine St Asaph: If Ariana Grande isn’t going to make effervescent, summery Mariah and/or early Mya tributes anymore, someone has to.
[7]

Scott Mildenhall: Just how many members of Fifth Harmony were there? This is a very polished entry into a genre tradition whose hit ratio was significantly higher in America than the UK — certainly not the J.R. Rotem that Britain heard and loved. If you grew up listening to songs like this, you might stand a better chance of liking it.
[5]