Or 16 and rainy right now…
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[4.83]
Patrick St. Michel: Feels more like room temperature.
[4]
Alfred Soto: Modern bro-country depends on riffs, and this has got’em, but the gauze-covered chorus, closer to, I don’t know, Jude Cole than Kix, is a serious buzzkill.
[4]
Anthony Easton: Joe Nichols has never convinced me of his use function — he isn’t as good a musician or singer, he doesn’t play genre games, his material is solidly b-list, caught between the Kenny and Tim old guard, and the nu guard, but not in a deliberate way like Blake Shelton’s brilliant careerism. This does not add any evidence to justify his career.
[3]
Daniel Montesinos-Donaghy: Shortening the verses to get to the choruses loosens the effectiveness of that cute-as-hell hook, so much that you almost wish Nichols will play at the speed of a NOFX song. This is cute, if unbelievable. Not wanting to make too many assumptions, but judging from lyrical performance vs wailin’ histironics, those guitars have seen more action than the man playing ’em.
[6]
Brad Shoup: The guitars bite like an autumn wind: great job. But it makes the transport that much harder to imagine without a gifted singer to put it over. Nichols sounds like the kind of guy who’d make you navigate and still grab the phone on the interstate.
[5]
Edward Okulicz: I’m no sun-lover and have the vitamin D deficiency to prove it, but Nichols makes the chorus sound like the presumably enticing day that exists somewhere in someone else’s fantasies. The riff would sound great placed on top of sped-up vision showing clouds parting to reveal the bright sun, and it sounds pretty good by itself too. The light drizzles of the verses that the chorus pushes away aren’t quite so fun though.
[7]