Yes, yes, it is.

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[4.67]

Brad Shoup: It doesn’t quite bang, but it’s mournful and nearly propulsive. It’s a B+ Mr. Mister song, so this is my favorite Maroon 5 song to date.
[7]

Megan Harrington: Adam Levine is such an ambivalent, non-committal creature that I can’t tell if this is song is about the girl who finally snagged the world’s foremost yoga bachelor or if it’s all the girl’s fault that he dumped her. There’s a strange talent to being so transmutable, but it’s a boring one, like lactokinesis. 
[4]

Micha Cavaseno: It’s a decade later, and the Songs About Jane-era feels more and more frighteningly distant. I’ve never hated Maroon 5, but as the band figures less and less as a musical figure, I find myself getting startled by these guys. There’s an unmistakable professionalism, to the point that I feel like Maroon 5 are more a brand or a company than a band. A band is expected to deliver a certain product with little variation lest you be greeted by the spittle and fury of a vexed fanbase demanding the musicians stripped of their title and forced to fend under a new guise. So with such an amorphous, assembly-line career, how is it that Maroon 5 always seem to come out on top? What makes people trust them the way they do?
[6]

Anthony Easton: Angrier than Levine usually is, with a strong, almost paranoid synth track over a voice that rests on an almost unhinged paranoia, I hope this suggests a different way forward for the band. 
[6]

Alfred Soto: If we were to believe Adam Levine’s “heart” was “searching” for “meaning,” then he better sing like he means it, and when he does dive under the table. The melismatic hysteria adduces his Really Meaning It, but he sounds like a pimp mourning the sudden death of his favorite trick. Speaking of tricks: Daryl Hall made a lot of money out of being an asshole who thinks women deserve his love. Adam Levine would like to be him. Even with the rhythm lick undergirding the usual 1-900-EDM effects he’s a plutocrat with neither the talent nor attention span to amalgamate the best bits that Malibu can buy. Still, the chorus is catchy — what do you expect from this guy anyway?
[3]

Katherine St Asaph: Right on schedule, Maroon 5 releases a song that I enjoy, shower myself with shame, then keep enjoying. This one’s easier to justify than “One More Night,” as Adam Levine has merely slapped rhythm guitar onto “Solo Dancing” — except it’s Adam Levine, so this time it actually is masturbatory. It is far easier to imagine Adam in love with the cool computer-assisted descants his voice can make than any breathing woman. And if everyone made this much melodrama out of every sweaty dream then we’re all fucking doomed — Adam’s lucky his subconscious slotted in his BFF and not, like, his podiatrist. But it is likable shameful nonsense, and its existence means I’m done liking Maroon 5 songs until next album, so I’m good.
[7]

David Sheffieck: Woke up sweating from a dream, but the Rod Serling narration informed me that Maroon 5 were still around, still making songs that progressively sounded less like “pop” and more like “nothing.” I can only assume that tomorrow I will wake up to discover that in an ironic twist every sound sounds like a Maroon 5 song.
[0]

Thomas Inskeep: This is so inoffensively bland that I can’t even get worked up over it. It isn’t bad (and certainly isn’t any good); it just is. Maroon 5 are now officially the golf of the music world.
[3]

John Seroff: I understand that Maroon 5 is a poor choice for a guilty pleasure. If I sought a defense, I’d suggest that there’s something about the mega-processed chirrup-und-yodel of Adam Levine and that faux-80’s M-5 sound that short circuits my better critical judgment.  It’s not as if I’ll be playing this past the review period but, as disposable pastiche, “…Always You” is accomplished enough to provoke my inner twelve year old to fluff out the mullet, slip on the jams and “AVOID THE NOID” t-shirt ensemble and run over anthills with my Thundertank.  I guess what I’m trying to say is that I think they’re really coming into their own here, commercially and artistically.
[6]

Luisa Lopez: Even Maroon 5 songs that aren’t meant to be mournful sound like they’re coming out of the grave. What a nice thing in this season. Here, they keep their usual lean phrases and the silliness of all that impassioned howling but this tune is sparser than most of what they put out and has only a few moments where it falls into messiness. For Maroon 5, that’s a victory.
[6]

David Lee: SCOOP: Adam Levine seen cavorting with Sia for “singing lessons.” Last Tuesday, the duo were spotted together, mouths agape, near a Los Angeles recording studio. One source close to Levine says, “Adam randomly adopted “Shine bright like a diamond” as his new catchphrase,” and claims the two have been inseparable ever since. Maroon 5’s latest single bears this out, its stuttering 80’s action film finale synths yielding to Levine’s yowling maw. Reps for both stars have yet to comment on the situatiooooooooooooooooon.
[4]

Josh Winters: Why hasn’t Adam Levine written a rock opera yet? I can almost imagine it now: this would definitely be the soliloquy near the top of the second act, with a single spotlight shining on his partially erased face, singing his little heart out all the way to the back of the house. Only, how many people would still be sitting in the audience?
[4]