As if Kele would have been able to sing the Republica song properly, anyway.

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[4.90]

Jonathan Bogart: Not a Republica cover, worse luck.
[4]

B Michael Payne: I’d like to hear a particularly drunk person sing this at the end of a long karaoke session. That’s literally the only context in which I ever want to hear this song.
[1]

Michaela Drapes: Yes, yes, yes. I’m so glad to see Kele continuing to embrace his inevitable career path as a house diva with Solveig rather than icky old Tiesto. “Tonight I’m a different guy, forget about the things you know…” indeed. This is totally pressing the same erogenous zone in my brain that the entirety of Frankie Goes to Hollywood’s Welcome to the Pleasuredome does. Take that as you will; this is definitely not a bad thing.
[8]

Pete Baran: Hold on Martin. Are you just nicking Coldplay’s “Clocks” as your backing?. Are we really in Jason Derulo territory here? OK, if “Clocks” is your “Show Me Love,” then your “Banana Boat Song” appears to be Republica’s “Ready To Go”. Thus we appear to have some bastard eurodisco version of Sky’s Soccer Saturday with a touch more emo. It would soundtrack the return of Andy Gray and Richard Keys if they were forced to have a sex change to make up for their sexist remarks, as distastefully fascinating as that sounds, I guess.
[5]

Anthony Easton: How ironic is this?
[5]

Edward Okulicz: Solveig’s got it all worked out – take elements you’re familiar with from other songs, chuck it into a sporting context via its video, and get a little cred with a cool singer. It’s been good for a massive hit before, and it will be again. But compared to “Hello”, the song is worse and it evokes not even a single feeling of excitement or needing to go anywhere, or do anything. Other than find a more thrilling single, natch.
[4]

Katherine St Asaph: Digital “Clocks” with some guy shouting over it, as opposed to digital schlock with some girl squeeing over it. At this point Solveig’d probably do just as well by singing over the track himself like the other ambitious/delusional producers.
[5]

Zach Lyon: I could stick around, set the tone, I don’t know, hello. Doesn’t really mean that I’m into you, and I knew you were ready, hello. (Tonight.) I’m a different guy to enjoy the party, don’t get too excited I can see you coming whole (hey). Yeah I think you’re cute but really, yes or no? I just came to sayDY TO GOOOOO…
[4]

Sally O’Rourke: I understand why Martin Solveig is a bit of a punching bag: the English 101 non-lyrics, the transparent song construction (here comes the slow part!), his ambition to become your granny’s favorite dance producer. But I find Solveig’s goofy energy and eagerness to entertain kind of winning, and “Ready 2 Go” is the most purely joyous thing I’ve heard in weeks. A good share of the credit goes to Kele for turning endless repetitions of “I’m ready to go / if you say so” into a power anthem, but it’s Solveig’s house party beats and Numan-on-ecstasy synths that really boost the serotonin.
[8]

Hazel Robinson: I suppose it was inevitable that when the 80s finished being back the 90s would step into the void.
[5]