And, this screencap depicts how we feel as much as it does him…
[Video][Website]
[3.29]
Micha Cavaseno: The riddim and J Balvin’s hook is a bit too lean to make too much of a meal out of this record, suitable and useful as it is. Nicky’s guest feature is a bit more dexterous, providing some useful spark, and the Bronx God French Montana provides his perfect brand of drunken ‘haaaanh?’ to give the song a knowing wink and a smile. Decent try at a banger though.
[4]
Crystal Leww: “Ay Vamos” plods before it’s finally over, a slow march with vocals turned down too low and lost in those hits. I never thought I’d miss French Montana’s loud “HANH”s but here we are, no personality whatsoever, not even an obnoxious one.
[3]
Iain Mew: I like the “na, na, na” like stones skimming over water. The rest is still, cool, kind of dull.
[5]
Alfred Soto: A polite electroskank does not a hit make, not since Maxi Priest stopped charting in America.
[3]
Thomas Inskeep: Lazy by-the-numbers reggaeton, complete with a nothing verse from French Montana (who can do better). No one here sounds like they’re trying to do anything other than cash some of those Furious 7 checks.
[2]
Brad Shoup: Balvin’s listless ode to a relationship that’s just kinda hanging on gets tricked out. Nicky Jam’s got a more resonant vocal, and he’s doing things with it. But French! French gets that this is a reggaeton lullaby.
[4]
Edward Okulicz: Skirts so close to the not-missed-at-all sound of 1990s reggae-pop that French Montana actually counted as a Good Bit. The song’s casual skip numbs the mind about half way in, and there was another two and a half minutes after that. The overall effect is inadvertantly oppressive like one of those days where it’s stupidly hot, blindingly bright and the sun won’t fuck off and set.
[2]