We are basically toddlers…

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[5.50]

Anthony Easton: I like how he sings woo-ooo and its general laconic quality. 
[7]

Daniel Montesinos-Donaghy: Well-written and supple, containing a tipsy little riff that feels like a reaffirming hand on a shoulder. The lyrics are hogwash but it’s the sounds Ezra makes that are important — those oohs and las are judged just so.
[7]

Jer Fairall: A melody at once spry and graceful, and a production subtly enhanced by several easy-to-miss but rewarding touches; my favourite is either that nimble little guitar figure that pops up in and around the chorus, or that wordless quasi-African hook that appears towards the end. As a vocalist, though, Ezra falls victim the irritating compulsion of too many modern day singer/songwriters to mangle certain pronunciations (“without you-oooooh-oooh-ooooh I’d lee zee doh”) in an effort to affect “soulfulness,” spoiling a track that deserved much better.
[5]

Edward Okulicz: The first time I played this I had to listen carefully to determine it was actually in English. Hey, maybe a version in Hungarian would be more fun and less filled with obvious AUTHENTIC SOUL VOCAL TICS. In spite of Ezra’s minor crime of trying a bit too hard, “Budapest” works because of a bunch of touches that sound effortless and natural — the placement of an “ooh” here, a nifty guitar figure there.
[6]

Brad Shoup: It’s a sweet conceit, this dude I’ve never heard of offering to divest himself of some bomb-ass possessions for his beloved. It’s like A Christmas Carol with a Steely Dan protagonist. The arrangement is basic: a Vampy figure, a blurred solo, some Graceland-style a-whoos. Sweet can be simple, though, even if I wish he’d thought of another verse.
[7]

Katherine St Asaph: And every song’s like pianos, treasure chests, houses out in Budapest — I don’t care. If I were her I’d want the goods.
[5]

Alfred Soto: Ezra’s voice purrs like an organ while the real live organ coos like background vocals. This confusion injects tension into otherwise perfunctory strummed sincerity.
[5]

Patrick St. Michel: This will sound amazing in a movie trailer someday.
[5]

Crystal Leww: Yes, exactly what the world needed: another song by some soulful white dude involving an acoustic guitar about some girl and a random-ass city. 
[3]

Scott Mildenhall: This won’t sound unpleasant between Nile Rodgers’ collaboration with David Guetta and Nile Rodgers’ collaboration with Jake Bugg on Radio 1 when it’s afforded second single status this summer, but therein lies a problem: Radio 1 will probably be the only place anyone will really hear it. Maybe it’ll end up on one of those “having kids is tiring but aren’t those moments worth it?”-type adverts — the “I’d give it all” that’s almost all you’ve got is at least ear-catching — but otherwise it’ll be no more the Sound Of 2014 than the second Michael Kiwanuka album. Probably.
[5]