All you had to do was sing.
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[4.50]
Will Adams: “I’m In It With You” is essentially a Sia song without all that vowel mastication. The chorus is the winner, vaulting into a new key as martial drums fortify Loreen’s til-death covenant. Her powerful voice would be suited to any type of big, cinematic arrangement, but — big surprise — I prefer her melancholic melodrama to something like the Eurovision-winning “Euphoria.”
[7]
Jonathan Bogart: And once you’re done wailing dramatically about it, what use will you be to our current predicament?
[4]
Thomas Inskeep: A big, overblown ballad that Roxette would’ve given a couple of their platinum plaques for. Except that Loreen is a better singer than Marie Fredriksson ever was.
[5]
Alfred Soto: The walloping electronic arrangement that is the trademark of global ballads for non-existent Twilight movies smothers this Swedish singer.
[3]
Micha Cavaseno: The synths are meant to compete with Lorde or something, but this is pure late ’00s era nonsense Rihanna ballad.
[4]
Natasha Genet Avery: Loreen struggles to sell a love-as-a-hunt-and-also-as-pain metaphor that never fully comes together. The production is similarly ambitious, striving to be anthemic (strings! pounding drums! a delicate piano interlude!) but sounding formulaic.
[4]