And who would show up next but Inna, scoring a full two points higher than past singles…

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[6.78]

Will Adams: Between Betta Lemme, Sofi Tukker and not one but two singles by Jaded, 2019 has been a watershed year for an emerging micro-genre of house that I am tentatively dubbing “obnoxious banger.” I thank Inna for adding to the conversation.
[7]

Kylo Nocom: “Tu Manera” is bratty and idiosyncratic like Tove Styrke once was, funky and mesmerizing in ways evocative of a more realized “Makeba,” and so confident that it couldn’t have been anything other than excellent.
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Joshua Minsoo Kim: More interesting than pleasurable, “Tu Manera” features a sticky bassline that’s as much a source of lively energy as it is a suffocating boundary-setter. I want to dance, but it feels like the instrumentation is clamping down on my options. Thank God for the middle eight.
[4]

Nortey Dowuona: Hopping bongos, chants of HEY!, slithering bass, and whispering percussion surround Inna’s gleeful voc(HEY!)al. She slides along them then hops off to get some Arizona with a plastic cone cup of synths.
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Alfred Soto: A helluva bass line — I thought of the way in which Merrill Garbus worked massed chants around a similar rhythmic elasticity. And Inna delivers a shade-calling worthy performance worthy of early Madonna.
[7]

Katherine St Asaph: We totally did get a sequel to “Bad Liar”! From Inna of all people, but she’s no less plausible a benefactor than Selena Gomez was. Though I suspect “Tu Manera” is actually part of the blog-pop nostalgia wave, i.e., wants to be “Shut Up and Let Me Go.”
[6]

Kayla Beardslee: The shouts, the drawled lyrics, the bouncy bass, the sound effects — oh god, this is “Icy” by Itzy again, and I did not like “Icy.” I do find this take on aggressive cuteness more palatable: The introduction of new elements is controlled, rather than kitchen-sink. The minimalist production and repeated lyrics make “Tu Manera” feel a bit thin, but what’s here is enjoyable, in a squarely “good” kind of way.
[5]

Iain Mew: A good display of minimalism done right. Each element outside of the hook (even one as good as the clumpy bass) gets its moment and moves out of the way. Fun, delivered with efficiency. 
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David Moore: I missed my calling as a music programmer for quality-leaning but nonetheless junky dramas that through whatever miracle get aired on network television. This one would be my go-to pick — also in ads for jeans, headphones, you name it — and it’s the kind of cheerful commercial consensus song whose failure to hit is perplexing, especially after what felt to me like a pretty concerted Spotify campaign to make it stick. But then I guess my Spotify is not really your Spotify, which is the whole point of Spotify — the world’s largest walled garden turned into a hedge maze. The song’s just-plain-goodness, paired with its utter commercial failure, is abstractly fascinating, as incandescent non-starters often are, and yet I can’t help even now in the twilight of its fizzle but to hear it as a smash, not only in my little world but in some larger one in which those network shows run, for those people who still have live access to network television and whose tastes are informed by jeans commercials (as are mine, let’s be clear). Anyway, the show this thing finally landed on was Grand Hotel, an American remake of a popular Spanish drama series that limped through its single season. I’m sure that one felt like a winner, too, but you never can tell with these things. 
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