Chung Ha ft. Hongjoong of ATEEZ – Eenie Meenie
Catch an idol by the toe…

[Video]
[6.56]
Kayla Beardslee: Chung Ha knows how to sell glitzy seriousness, but a goofy hook that unironically uses the phrase “eenie meenie” isn’t really her forte, and the YG party chorus at the end doesn’t do anything to redeem it. The pre-chorus is the best part because it briefly allows her voice to soar instead of holding back. If only there was another more show-stopping, dynamic track that could have taken “Eenie Meenie”‘s place… imagine an explosive dance-pop number with a blistering vocal performance and voguing and waacking galore… if only such a thing exis-why was “I’m Ready” not the single???
[4]
Isabel Cole: As a concept, “sexie eenie meenie miney moe,” played absolutely straight, sounds like a chapter from Jenna Maroney’s music career on 30 Rock (perhaps a Woggles collab?), but somehow I actually kind of love this? That bass line hooks me at the start, and every time I start to worry the song’s not going to live up to it something different starts happening. Despite taking the silly hook dead seriously, to my mostly monolingual ears, Chung Ha sounds like she’s having so much fun it’s infectious, spreading to both the featured rap and to me; when I put it on while washing dishes last night, I found myself dancing along unconsciously, hands covered in suds.
[8]
Ian Mathers: Yes, pop music has a rich history of repurposing nursery rhymes and the like but I have a rich personal history of not living it when it happens. I do like that bass sound though — sumptuous!
[6]
Taylor Alatorre: I enjoy the way that this starts off sounding like a mid-2000s Pharrell beat given an exfoliating spa treatment, and ends up sounding like a mid-2000s Pharrell beat that someone pushed down the Odessa Steps.
[7]
Katherine St. Asaph: Bratz: Genie Magic type beat.
[6]
Danilo Bortoli: It’s 2024, and the horrors of the world have almost obliterated my ability to grasp pop and my sensitivity to it. Maybe it’s for the best. Which brings me to say that I see “Eenie Meenie” as an act of extreme competence. A neatly packaged deal made from the finest sound engineering – the best and most obvious picks at hand combined and arranged to form a pretty pricey toy. I’m not complaining. Quite the opposite: I’m just a happy cynic.
[7]
Nortey Dowuona: you can rap that fast wtf is this man a sorcerer or a missing member of freestyle fellowship wtf wtf wtf also how are people calling themselves billen ted involved in this and why is this so good
[10]
Mark Sinker: The burden of the lyric is so much about not caring to connect — you the audience and you the love interest just so many randoms to her — and the chorus is so divinely glidingly self-involved and then all the mounting quirks and squirks to the building weave of the backing, and the build too of the voices behind her many voices, likely a perfectly blank porcelain-eggshell-candy palace of serene diffidence, all so much that I can’t even locate what comes after the modal verb, because look, she’s just looking the other way anyway…
[7]
Will Adams: Fourteen years later is enough time for the following theory to be confirmed: you cannot base a pop song on the nursery rhyme “eenie meenie miney moe” that isn’t laughably silly.
[4]
Reader average: [5] (1 vote)