We need a third guest whose name is a vowel. Maybe Omarion.
[Video][Website]
[5.50]
Anthony Easton: Pleasantly diverting, with a voice as mild and refreshing as vanilla soft serve.
[5]
Will Adams: My Name Is Kay, whose new name seems to be engineered solely for easier Googling, continues her insistence on sounding exactly like Robyn without the fun. If her debut single was analogous to “Konichiwa Bitches,” “Strangers” seems to mirror “Bum Like You” –- they both call out some dude who doesn’t even seem worth dedicating a song to. But Robyn worked with her backing and projected a frivolity that was a sonic reminder that pop music is awesome when it’s fun. My Name Is Kay delivers dead-eyed verses and a half-written chorus over some Luke-warm porridge, leaving Pusha T’s dubious appearance the most interesting aspect.
[3]
Katherine St Asaph: Pusha T has a habit of being apt for the exact opposite reasons that he intends. The first time’s when he talks about being replaceable, which I’m sure he thinks is about My Gimmick Is My Name Scheme Kay but should be about his typecast-asshole self. The second’s “We take it to the limit, ‘Borderline,'” a hashtag in no way about Madonna but telling considering Kay’s borrowed her vocal producers. (Well, hers or Carly Rae’s.) She hasn’t quite borrowed her gusto; “Strangers” sounds like said producers cowed Kay so much all she can do is stare limply into her punch glass, surfacing every so often to interject whichever demo vocals sound confident this year. (Game: come up with four other lyrics for the cadence and notes of “youdon’teven know me.) But that chorus! Vocals like sighs, a melody like a gemstone and, clicking in the background, a very sad Game & Watch game. Kay can do better than these easy pop tricks, but you could do better than spending this weekend in the sun, too.
[6]
Brad Shoup: Love the ’70s AM Gold chorus. But like everything else here, I wish it’d been fully written.
[5]
Jonathan Bogart: She squanders a perfectly good earworm with an anonymous performance — and not in a good way. Blankness can sometimes be intriguing, but there’s no suggestion here of any hidden depths.
[5]
Patrick St. Michel: So Pusha T and Kay are supposed to be involved within the context of this song, right? Assuming so, Pusha goes a long way to giving “Strangers” some extra depth, because his verses paint him as a real jerk. Even if he’s just delivering a weaker version of his “Runaway” rhymes, bits like “I buy you this/I take you there” and him chastising her for talking during a game flesh Kay’s lyrics out a bit more. Credit also goes to whoever suggested this song sound like a stab at summer-appropriate pop, because that format forces Kay to rap less.
[7]
Alfred Soto: Rubbing up against a coltish Pusha T, Kay shows plenty of PG-13 sass. She’s not above a na-na-whoo-hoo, either.
[6]
Hazel Robinson: Man, I wish artists wouldn’t put the “na na whooo” bits into their lyrics videos, although I can forgive the official one for the way Pusha T pops up behind her. That aside, this is rather lovely. Kay’s voice is warm and the hook is pure sunshine, which might not suit the inclement conditions, but I’m a sucker for a summer jam.
[7]