Today, by the way, is Singers With Microphones Day…
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[5.20]
Pete Baran: This comes out of the traps with a high-strung ballad air, before hitting a driving chorus reminiscent of a film theme that is significantly bigger than the film it is in. It’s that most unusual type of song, the “we should break up but haven’t yet” song written from the point of view of the difficult party. As such, the Childish Gambino verse is absolutely integral to the track in a way most raps just aren’t, and for a comedian, he hits it out of the park. It’s really the product of everyone involved being on top of their game, which is lovely to see.
[9]
Katherine St Asaph: Leona Lewis, who’s perpetually stuck in album promo mode, has gotten a songwriting assist from Emeli Sandé, herself perpetually stuck in next-big-thing mode. This makes little business sense — their skills are too similar, and someone’s going to be made superfluous in the exchange — but musically, it works well enough. The track grinds down that spot where dark Ronson meets Linkin Park, recalling “You Keep Me Hanging On” and “Bleeding Love” and other pent-up dramas. Leona either intones like the creepiest chorister on the pews or sounds like she’s recreating Sandé’s demo tape. Donald Glover is fine if you pretend he’s literally anyone else. Troubled this is not, but solid? Sure.
[7]
Anthony Easton: I am surprisingly okay with Leona Lewis being a diva-for-hire on which ever hipster convinces a record company to let go of the dosh. Since hipsters and record companies seem to be dying enterprises, I will extend this: Lewis singing the specials at your local grocery chain, Lewis singing PSAs on the radio, Lewis working through tornado alerts on an Emergency Broadcast system in rural Kansas, Lewis singing the New York Times wedding announcements…
[7]
Iain Mew: Better a “Daddy” rehash than a “Next to Me” one, I guess, but Emeli Sandé overexposure one step removed is still going to be overexposure.
[5]
Brad Shoup: This is what Dickens’ third ghost revealed to Mariah.
[3]
Jonathan Bogart: Dramatic strings and pulses, Lewis singing at the slight desperate end of her register, and Donald Glover taking it surprisingly seriously all seems to want to add up to something big and emotional, but none of the parts ever fully gel, and rather than being swept up in the drama I keep tripping up on the unevenness of its surface.
[6]
Will Adams: Donald Glover’s verse has a bracing crescendo that provides some bulk, but overall this is rather innocuous.
[5]
Edward Okulicz: Look, I love Community as much as, if not more than, the next person, but Donald Glover is getting so close to a flashpoint of Internet-based overrating that I want to scream. I can’t see a point to his brief verse comprised of dorky, ineffective wordplay (delivered with unbearable seriousness; not that this song needs levity, but it doesn’t need a Childish Gambino guest verse) other than that Emeli Sandé ran out of melodic ideas halfway through. Pity, though, because “Trouble” sounds brilliant and Lewis is a powerful singer, but rather than sustaining tension or building to it satisfyingly, it blows its load one chorus in. Lewis is like the emotional marathonist in a 100-metre sprint, and it’s not ideal.
[5]
Alfred Soto: Boy, does she strain to hit those notes. Is that what the title refers to?
[2]
Patrick St. Michel: Donald Glover’s whole schtick as Childish Gambino is, despite being a comedian, he’s totally serious about this rapping thing. Which is a shame on “Trouble,” since what this daytime-drama-emotional song could use are a few jokes.
[3]