And a school night, too!

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[6.80]

Crystal Leww: Charli XCX is, in many ways, the millennial girl’s Drake. I feel embarrassed to admit how much I relate to this. For the busy girl who is off chasing her career or chasing something other than love, moments connecting with others can feel like so much. But she has no one to blame for her loneliness other than herself. 
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Claire Biddles: Trust Charli to bring some interest and fun to done-to-death tropical. There’s a lightness of touch here that sets this apart from the budget-pop try-hards, and it’s full of the lyrical wistfulness that Charli does so well. The production from Mura Masa brings something fresh too, giving all the sounds space to breathe — I especially love the addition of treated harps, an unexpected partner to the steel drums. 
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Thomas Inskeep: Our own Alfred Soto said, upon reviewing Mura Masa’s last single, that he “dread[ed] steel drums when used to express sweet longing.” Well, he may not be using steel drums on “1 Night,” but there’s a similar plinkiness going on, and “sweet longing” is definitely being expressed by Charli XCX. But this time it works, thanks in large part to Charli’s strong vocal. And here, the sentiment she’s sharing — she wants to “go back to” the feeling of the one night she had with a partner — is both universal and specific enough to get over completely. Mura Masa’s production touch on this is marvelously light and summery, yet still absolutely danceable. Well done all around.
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Alfred Soto: An awful lot of fuss for one night. 
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Will Rivitz: Charli XCX is a master of euphoria, drawing everything she’s given to such an artful and precise peak that it’s impossible not to get caught up in her rush. She still sounds better over the hedonistic bombast of SOPHIE et al. — Number 1 Angel is probably my favorite album of the year so far — but this ain’t bad either.
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Danilo Bortoli: In recent years Charli XCX has ranged from being one of my most trusted popstars — the perfect encapsulation of a The Cure and Destiny’s Child crossover — to the unpredictable devil that is now officially PC Music material. That is, before releasing to the world a masterpiece on the subject of cunnilingus that contains the lyric “Pussy taste sweet ’cause I ate my pineapple,” Charli came up with a cautious, almost minimalist song about forming stronger bonds. “We had a connection,” she says while later transforming a threadbare phrase into one of the best choruses of year — as she has always done. But it’s the way she asks the inevitable “Do you wanna go?” that makes it all worthwhile. It’s impossible to know where she is going right now, but guessing is now part of the fun. 
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Jonathan Bradley: Charli XCX edges back from a series of increasingly bad choices with a modest lap-pop arrangement by this British DJ. It’s been a long while since we’ve heard her simply perform a pop lyric, finding the subtleties in its emotion, rather than placing air quotes around ephemera we’re supposed to believe she’s too clever for. The simplicity would be welcome if it weren’t too slight: without a real chorus, it sounds as if Mura Masa got his hands on a snippet of a vocal stem and had to try to stretch it into a full track.
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Katherine St Asaph: Where all the distortion from “dance to the distortion” went, I suppose. But all the glitchery Mura Masa’s computer can fritz out, nor all the hard edges of the robot chassis PC Music still hasn’t let Charli’s voice out of, can’t disguise the fact that this is basically a Kygo song, with all the trop-drop cliches and a lossy, fragmented version of Charli’s usually-lusher melodies.
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Rachel Bowles: Under Mura Masa’s summery steel drums and xylophones, “1 Night”‘s base hums menacingly, showing what’s at stake for Charli XCX, by turns vulnerable and fiery. Lines like “I’m not the type of girl for serious affection” are sung with defensive posturing punctuated by moaning, the tension between “1 Night”‘s ecstasy and fear of heartache. The combination of Mura Masa and Charli’s musical sensibilities makes for a very danceable and satisfying “avant-pop” record with crossover appeal, like an edgier, dirtier “Symphony” by Clean Bandit ft. Zara Larrson
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Ryo Miyauchi: Dreamy and intense as Charli may write about them, relationships in her songs often felt more like an ode to her Crush of the Month. And her tendency to dispose pop styles just as she starts to go somewhere with them only makes her feelings seem more come-and-go. So it’s something else to hear Charli sing a chorus about not only rejecting the temporary but also keen on revisiting the past.
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