So unforgettable, in fact, that we are mainly associating this with someone else…

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Will Adams: Funnily enough, I was reminded of The Chainsmokers even before the Coldplay reference; it’s got the cadence and brand name reminiscing of “Closer,” and Thomas Rhett is about as pitiable as Chris Martin on “Something Just Like This.” The arrangement, on the other hand, is like “You’re the Only One” without the endearing sense of humor or self-reflection.
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Alfred Soto: Mango-ritas and shots are one thing, but adding Coldplay is like drinking vodka and Red Bull. Better is the handclap rhythm and the stadium-ready singalong chorus. Its mild charm lies in Thomas Rhett’s use of just enough detail — too many and I wouldn’t believed him, like Rick Perry wearing glasses to look intellectual. 
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Stephen Eisermann: Thomas Rhett can sell even the corniest of lyrics due to his charm and good looks because somehow both translate to his studio recordings. Bizarre, I know. Still, for a song that claims every detail is “unforgettable,” there should be more description of what someone is wearing than just “blue jeans” and “shoes.” It’s the lyrical equivalent of arguing with someone who says they know the answer to a question you are asking, but aren’t going to tell you because “they don’t have to.” Don’t say something is unforgettable and then describe it in the most generic way ever, it’s foolish. 
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Thomas Inskeep: I don’t wanna be that guy who yells about how “country music used to be better than this” — because there’s plenty of good country music being made right now, plenty of it on the radio, even. But this is a) barely country, musically; it sounds more like Gavin DeGraw than anything b) not good. I mean, when you title your single “Unforgettable,” the bad reviews write themselves, don’t they? 
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Nortey Dowuona: Solid guitar and piano but misplaced 2012 bass drop flattens out the song halfway through.
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Ian Mathers: I mean, it’s neither a historical genre pastiche nor a showcase for poorly shoehorned-in modern production techniques, so it’s less annoying to listen to than most of Rhett’s singles, but it still reminds me that my main problem with a significant chunk of pop country (or bro country or modern country or whateverthefuck) isn’t that it’s watering down the “traditional” version of the genre so much as it didn’t find anything to replace what it was getting rid of except for piss-weak songwriting (melodically and lyrically). This could come on the radio dozens of times in my vicinity and I would probably never mind enough to change the station, but that’s because I also probably wouldn’t notice it.
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