Och vad är fel med det?

[Video]
[4.88]

Olivia Rafferty: Inoffensive Scandi-pop that conjures images of sad white man in leather jacket.
[3]

Wayne Weizhen Zhang: Even before translating the lyrics from Swedish, I could already tell this was going to be some soft-boy, sappy crap about crying and loving someone else. Sometimes corniness transcends language. 
[3]

Scott Mildenhall: Quite rightly, Sweden decided against Felix Sandman’s literalist “Boys With Emotions” for The Eurovision That Wasn’t, but it must surely have struck some chord in a nation where “Svag” has been the most popular song of the year. Unlike Sandman though, Leksell shows more than tells. This is less proclamation than concession of vulnerability, and therein lies half of the appeal: he actually sounds soft. It’s not a Statement, and soars above all Capaldian bellows; a reminder that things can be restrained, emotional, tuneful and lively all at the same time.
[7]

Will Adams: A man whose received masculinity tells him it’s wrong to show emotion (“That’s how I was raised / just be a man and take it”) grapples with being struck with love. It’s… almost moving? The Sheeran-core arrangement is fine but never goes anywhere; by chorus three we’re still sat with the same pleasant strums, light percussion and reverb aplenty.
[5]

Kylo Nocom: Has the nostalgia cycle reached the pop intimacy of Ghost Stories, x, and other Starbucks favorites circa 2014 yet? Viktor Leksell, despite never reaching the same highs in “Svag,” clearly knows well enough how “Magic” and “Tenerife Sea” were once enchanting.
[6]

Jacob Sujin Kuppermann: Maybe the low quality of European acoustic-pop imports to the US over the last decade has worn me down. “Svag” is less good than actively non-bad, its weak-in-the-knees lyrics and inoffensive production charming in the blandest way. But its blandness is its strength — I can’t help but bop along, and I can’t think of the last time I felt that way about a song that sounded like this.
[5]

Ryo Miyauchi: Justin Bieber’s sonar R&B is a foundation here, but Leksell translates Bieber’s recent marital bliss more through adult-contemporary earnestness. For such a closed-in song, he reaches for very sweeping generalizations and grandiose metaphors, but the lyrical overwhelmedness does convey just how awe-struck he is at the sight of The One.
[5]

Tobi Tella: Likable, dreamy guitar-pop with few other attributes. The lyrics gesture to a shift in the song at the chorus, but I’m not sure it actually registers sonically.
[5]