What was Jamie Foxx doing on that page of the Rolodex?
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[4.86]
Brad Shoup: Foxx’s participation brings this uncomfortably close to “Hate Me Now” territory. The exponential depreciation of my enthusiasm for Sandé continues apace. The ultra-personal Sanz sounds out of place on his own track, which at least started off kinda like Mark Eitzel’s “Take Courage.”
[5]
Iain Mew: Three artists from three countries and three genres, performing in two different languages, and it shows. If it’s a video game, it’s one of those minigame collections put together with more of a view to an impressive feature list than the experience. Still, everyone’s going all out and it somehow almost works because of the disjointedness as much as despite it. There’s never long enough to get fed up with any one approach.
[5]
Alfred Soto: A Grammy performance after the fourth commercial break.
[4]
Anthony Easton: Emeli Sandé goes pure torch longing here, using her voice to destroy everything in her path, sort of like this.
[7]
Daniel Montesinos-Donaghy: Here we are with one of these hybridised creative crossovers. it all feels very Nineties, with a relatively organic crossover between Oscar winner, an honorary Olympiad and a famed Spanish genre-hopper. It feels very much like a song to be performed on stage, an assembled example of vast stardom, people you never thought would step on a stage together. If VH1 ever decided to reboot their awards show, you could do a lot worse than staging this. Is it a good song? Does it matter? Don’t you feel comfortable that these people are so talented?
[5]
Will Adams: Three impassioned performers, never interacting with each other.
[4]
Edward Okulicz: It sounds as if it was made for Sandé at her most sternly serious, in other words, no matter who else is on the track it retains that same worthy dullness of the filler on her album, and her chorus is the only thing that sticks in the mind. This isn’t just tasteful, it’s defiantly tasteful.
[4]