And acid!

[Video]
[3.12]

Katie Gill: Boy, The Script are really having a hard time adjusting their early 2010s soft rock sound to modern pop radio, aren’t they? I mean, they’re certainly trying! But wow, is this an awkward mix between two radically different sounds.
[4]

Micha Cavaseno: Last of the generic AOR piano boys The Script have discovered tropicalisima via Drakk and Magic! as a way of propping up an anthemic chorus hook, and you can hear a certain plea to not be thrown into the garbage chute. And boy, in their rush to hire the tech people, the A&Rs of the music industry must have lost contact with all the vocal coaches. Someone really okayed that nasal falsetto sounding like so much mucus slurp.
[2]

Hannah Jocelyn: This would make a decent OneRepublic song, but 1. Ryan Tedder’s tropical attempt was better and 2. because “Despacito” has been everywhere this summer, I can’t hear a reggaeton-inspired beat without expecting SUBE SUBE SUBE at the end of the chorus. The one distinction this song actually has is the wheezy, wobbly Auto-Tune glitch when he sings “pain, pain”, which is hilarious.
[5]

Katherine St Asaph: One point awarded for the desperate hope that writer Camille Purcell intended this for Little Mix, whose voices might make this key sound less like pain. Only one point awarded because even they wouldn’t redeem the tropicalia and mandatory whoas.
[1]

Scott Mildenhall: Even a stopped clock is right twice a day, so The Script’s first good or even tolerable single in a near-decade makes them even more useless timekeepers. If they were told they’d gone 210 seconds without saying anything ridiculous here they’d presumably bristle, but a change has done them good. Camille Purcell’s presence on the credits may well have helped — “Rain” is taut, and sticks to a drizzling of pop’s most reliable lyrical cliches to be formulaic in the very best way.
[8]

Stephen Eisermann: I’ve been trying so hard to find the right word to describe what The Script does, and I’ve finally got it: musical gentrification. Much like what’s happening to Oakland and Tijuana demographically and culturally, The Script takes current musical trends (in this case, island beats) and whitewashes them. The strong, deliberate piano chords serve to remind us that, hey, piano-driven ballads are what The Script does best, and they will make sure you know that by forcing that signature sound into a current trend, regardless of whether it makes compositional sense. Throwing in a curse word doesn’t make you fit in, boys, and neither does Danny O’Donoghue’s pseudo-rapping delivery. Much like those new businesses and properties popping up, it all seems fake, forced, and unnatural. 
[1]

Alfred Soto: It feels like rain because the acoustic guitars are dripping milksop sentiments on my lap.
[1]

Mo Kim: The best detail is the pitter-patter of the hi-hats near the song’s climax, which muster a momentum that the rest of this wet dirge cannot.
[3]