This self-love gets semi-love from us only.

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Madi Ballista: Sigrid delivers a hip-swaying track about self-love and growth with a classic dance sound. The moody bass in the intro swinging right into the synth and strings dance rhythm brings along a satisfying momentum, and while the lyrics are on the simple side, the sentiment is genuine, and it comes through in her voice. In a time when loneliness feels endemic, there’s something comforting about the undressed assurance that sometimes being alone is the only way to grow.
[6]

Nortey Dowuona: When I started listening to this, I was hoping for a “Man in the Mirror”-type song where Sigrid would unpack the emotional turmoil that comes with trying to be the best self you can be. I was not expecting a song in which Sigrid serenades her own reflection. At least Sigrid can sing.
[4]

Wayne Weizhen Zhang: The definition of irony is Sigrid singing “I felt anonymous” on her most anonymous sounding track yet.
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Kayla Beardslee: Oh no, Sigrid, please don’t mix Dua Lipa with generic empowerment-core… I love your music but this is so bland.
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Thomas Inskeep: Well, someone’s been listening to Future Nostalgia.
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Dorian Sinclair: “Mirror” isn’t breaking new ground, but it’s self-assured enough that it really doesn’t need to. The production is gorgeous (the squiggly bass, disco strings, and warm piano complement each other perfectly), Sigrid’s voice slinks beautifully around the melodic line, especially in the prechorus, and the lyrics are a moderately novel take on the self-empowerment breakup anthem. I particularly like the nod in the prechorus to the toll that actualization takes on the people left behind, even as it’s necessary for oneself. The bridge/outro theme feels like an afterthought, and the song ends with an abruptness I can’t decide whether I love or hate, but overall it’s a very satisfying addition to its microgenre.
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Ian Mathers: Sigrid’s Sucker Punch was a bunch of great pop tunes that doubled as a complicated series of negotiations around autonomy, vulnerability, loneliness, and dependence. “Mirror” is one of those, but with added disco strings. No notes, keep it up.
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Katherine St Asaph: Who is this girl I see, with synth-bass and disco strings? Max Martin-y disco has life in it yet, even if it betrays nothing about who Sigrid is inside. Docked a point for the bridge: I don’t know whether it’s Sigrid’s singing or her vocal processing, but it’s like she’s repeatedly pulling Jim Carrey faces in desperate hopes that maybe this time, this hollow breath or contortion of the vocal cords, will sound as husky as Dua Lipa.
[5]

Harlan Talib Ockey: Okay, I know this might be savaged as the oncoming crest of the wave of Lipa-likes about to wreck our shores, but please consider: the way Sigrid’s voice rips through the euphoric chorus is just great.
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