Points deducted for not being a Nappy Roots cover.
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[4.12]
Patrick St. Michel: If only he had hit the road before this hit the goofy guitar solo.
[3]
Anthony Easton: They are obsessed with selling this over social media — ads for it have shown up on Facebook, Gmail, YouTube. It has shown up enough on Tumblr to suggest a viral campaign, but who is selling to whom and for what is pretty hard to tell there. Luke Bryan’s new one at least, you feel like the audience and him are in on the joke together, but this is just feeling harassed for not having enough of a good time.
[3]
Edward Okulicz: I keep wanting to segue from the first two words of the chorus of this straight into “51-50” . I don’t even like “51-50,” but anything to distract me from this lead-footed, lead-mouthed hackwork.
[3]
Andy Hutchins: Squandering all of the momentum generated by the verses on a hook that never really gets out of gear is a pretty good example of form following function. It is not, unfortunately, the right move on a song that takes a fertile premise and a flexing bass line and makes a mess of its refrain.
[5]
Brad Shoup: Lots of great long “o” sounds here. Plus there’s that descending chord progression… maybe it’s the dimming prospects of making it out the doors. Maybe it’s alcohol dimming the lights. Either way, it’s a menacing kind of stasis.
[7]
Rebecca A. Gowns: Mediocre by country standards, dreadful by rock standards, almost passable by country rock standards. The way the chorus lopes along bothers me. It’s like, trying to convince you of its mood of nighttime drunken antics, but it’s so crisply produced and the drawl is so pronounced that it sounds like a poem recital; a Northeastern prep school version of redneck. Weird.
[2]
Alfred Soto: From its serviceable chug to colloquial title, this could have soared with a Kip Moore or Toby Keith doing the drawling — anybody other than the limpest “what was I s’posed to do!” in history.
[5]
Jonathan Bogart: Most of the points here are for guitar tone, because I’m nostalgic for mid-90s corporate grunge. The song itself makes partying sound like a slog.
[5]