Now a trio…

[Video][Website]
[4.62]

Mark Sinker: What if polyphony but the twining lines are curving whips and leaping serpents made of wild hot light and cheeky taffy push-push-pushing outside anything placed on the page for them by writers and arrangers and such and it’s cliché even to say but oh it’s just so great after more than 10 years that this X Factor-spawned “assembler girl group” (© a friend who loves ’em more than me ever) is a more focused and deviceful energy factory than ever wtf.
[9]

Wayne Weizhen Zhang: Confetti falling from the sky is supposed to feel like a quick, blinding burst of bright color. “Confetti,” by contrast, has its fun moments, but overall fails to take this concept far enough, instead feeling too dark and labored over. 
[5]

Harlan Talib Ockey: I’m not convinced “confetti” was the right word to use here. It fits functionally in the simile, but it’s still an unwieldy group of syllables with no solid plosives to anchor the chorus. Actually, that’s pretty much the whole song; functional, fairly enjoyable, but it never quite excels. The production is fine, I guess. It’s serviceably icy, though the snap percussion is so generic that it sounds a little like a product demo for an app like ROLI. Little Mix’s vocal performances are… good. Leigh-Anne Pinnock immediately drives the energy through the roof once we hit her pre-chorus. Unfortunately, the wave of bass helping to propel her dissipates promptly during the chorus itself. Saweetie’s verse is great fun, too, even if it feels beamed in from another song entirely. There’s some delightful puns in here (see: “it girl, copy and paste”), and Little Mix’s interjections muster up at least enough chemistry to sound like they’re psyching her up for a fight. This is a likable song. With a few changes, it probably could’ve been a much better one.
[6]

Alfred Soto: If, say, Chloe v. Halle had performed “Confetti” I’d get a sense of the costs of pent-up hysteria while also feeling that pent-up hysteria. With Little Mix behind the mike, I don’t know what’s at stake other than getting to the chorus as quickly as possible.
[4]

Katie Gill: The Maroon 5 Effect: when a mediocre song gets a surprisingly good to amazingly great guest rapper who when they sing, you spend the entire verse just thinking, “man. I hope their paycheck was good.” It doesn’t matter if they do an amazing guest verse or if they’re just phoning it in, your thoughts are just basically “get that bread I guess?” Examples include “Girls Like You,” “Beautiful Mistakes,” “Confetti.”
[4]

Juana Giaimo: I’m not saying every song now should be about missing the dancefloor, but it’s strange to listen a new song about going to the club everyday, being VIP and talking to the DJ. But it’s not just the lyrics, everything about this song is made to be played loud and I feel it would benefit from some kind of break somewhere. Saweetie isn’t exactly the best rapper for that. 
[5]

Samson Savill de Jong: The kind of pop song that people who hate pop songs think all pop songs sound like and which justifies their hatred of pop songs. Bland, generic and fairly vacuous, this is checkbox music, designed to hit certain notes and nod at certain themes without really conveying any depth or having any emotional resenounce. 
[3]

Thomas Inskeep: Remember when UK girl groups were great, like Sugababes and Girls Aloud? This is just another garbage pile of a pop record to play in the club (ahem) that has nothing to say and less idea of how to say it. At least Saweetie, as opposed to Little Mix, has some personality.
[1]