When we’re blurbing then we’re blurbing enough…
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Alfred Soto: The Definition Of and Side Effects of You remain two of the strongest albums of the last decade, but she remains a steady member of the adult R&B cohort so long as she releases mediocre singles like “Enough,” in which Poppy Bush-era synths sparkles pave the sensual gravel of her voice.
[4]
Stephen Eisermann: Fantasia has one of the most colorful voices in R&B, so I was very disappointed when this track thought otherwise and the producer put that weird, distancing effect on her voice. The stale production isn’t the star, and I wish all involved knew that.
[4]
Will Adams: The arrangement manages to be lush without being crowded — it easily could’ve gone there, with all the guitars and synth twinkles and backing vocals. But Fantasia gets lost, both via a blurring chorus effect and simply being too low in the mix. If anyone deserves to be front and center of a surging soul song, it should be her.
[5]
Jacob Sujin Kuppermann: The guitars and pianos provide enough counterbalance that it doesn’t feel like Fantasia is pulling too much of the weight here– she’s still the star, obviously, with a performance that is both technically skilled and emotive, but it’s altogether a good song, not just a good vocal.
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Ian Mathers: Fantasia’s vocals here remind me of Anita Baker more than ever before, and there’s something compelling about the way they don’t quite seem like a natural fight for the dramatic flourishes of the music. By the end, natural fit or not, she’s absolutely sold the combination.
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Iris Xie: The mental image that first rose and has remained throughout listening to this song is a retired Cinderella, singing and tired after divorcing her first Prince Charming, and throwing herself after a second Prince Charming. The sparkly twinkling guitars sound faded and worn, and the backup singers and finger-snaps are very Boyz II Men, but then the electric guitar comes in and highlights how Fantasia seems to be phoning it all the way in. While she may have excelled at singing this type of material in the past, Fantasia is also most likely a different person from the American Idol winner she was so many years ago, and should be given material that exhibits where she is now — a similar complaint I had with Monica’s “Commitment.” Disconnected singing about your greatest love of all only creates dissonance in the listener and takes you out of the immersive experience of believing in the rapture of deep love. It’s more the machine of a love song than real love, with no meaningful commentary, just sad discoveries.
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