Up next, a certified “ATM” jam…

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[7.17]

Leah Isobel: This isn’t quite as exuberant or inventive as Bree’s past singles, which sort of sucks because this is her most direct appeal for radio play yet. The worrying possibility that her edge will be sanded off as she maneuvers closer to cultural dominance lurks in the background. But “ATM” is still great fun, powered by her sharp turns between seductive softness (the gasped “please” after the chorus) and steely determination (“…and I stay on his MOIND like a toupee”) — and that’s before Missy drops her best verse in ages. Besides, I can’t dislike any song that slots into my camming playlist as well as this does.
[7]

Thomas Inskeep: “Said he wanna take me real higher/But I know he only want my vagina”: Bree Runway does have a way with words, doesn’t she? It makes so much sense that Missy Elliott guests on “ATM,” because Runway possesses all of the originality that made Elliott stand out in the first place. The beat here isn’t as exciting as other tracks on Runway’s mixtape 2000AND4EVA, but her voice certainly is. And Elliott’s verse, mostly rapped in a British accent (delightful), adds plenty to the track. 
[8]

Alfred Soto: Sirens, stop-start dynamics, wtf rhymes — anything can happen on a Bree Runway track, a strategy she learned from the mentor who tries outweirding her here. It might’ve been a triumph without the annoying-as-hell hook.
[7]

John S. Quinn-Puerta: The soundscape of this track is so precisely crafted. Bree’s whisper at the top feels like I’m watching Hustlers again for the first time. When the bass drum hits with “boom-boom-boom”, I feel like Missy Elliott is grabbing me by the throat to express her disappointment that I’m not currently dancing. The synths leading out as the percussion tease a sinister outcome, almost supernatural in their atmosphere. This doesn’t even begin to get into the wordplay, with rhymes like “ass soft” and “Van Gogh” making my head spin next to lines like “on his mind like a toupee” and “misdemeanor in the bag, that’s Birkin”, all complemented by a devastatingly catchy chorus.
[9]

Juana Giaimo: I can’t avoid comparing “ATM” to the amazing “Damn Daniel“. While “Damn Daniel” has those very ’80s vibes that made you move your feet, “ATM” sounds quite flat and boring with that minimalistic production. I enjoy the storytelling style of the verses (which was also featured in “Damn Daniel”), but the hook is so repetitive and monotonous that is rather annoying. 
[5]

Samson Savill de Jong: I can’t entirely decide if the hook here is earwormy because it’s fun and catchy or because it’s annoying and catchy, but it’s undeniable either way. There’s nothing new being done here (I feel like I could find every one of Bree’s lines in her verse in other songs if I looked heard enough) but it retains a level of fun that means it works. If you can get Missy Elliott on a song and keep pace with her, that’s gotta count for something. 
[7]