According to her Wikipedia, she’s an actress. Any thoughts on which emotion she’s doing here?…
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Pete Baran: The sound of a milk drinking popstrel trying to work out exactly where her career fits in, and getting stuck in some sort of no man’s land between Joss Stone and Katie Melua. Not even as good as the John Woo film Broken Arrow, and that’s got John Travolta AND Christian Slater in it.
[3]
Jonathan Bogart: If we’re supposed to find her interesting, she needs to do something of interest.
[2]
Martin Skidmore: She always sounds as if she has a bit of a cold, thick in tone and as if she should surely have more of a range than this.
[2]
Katherine St Asaph: I’ve generally liked Pixie Lott’s singles, but it’s impossible to overstate how poorly she sings here. Her lower register swallows up entire lines. Poor, innocent words get impaled by her yelps. She bellows where anything else would do. I suppose this is all supposed to signify heartbreak, but it comes off as incompetence. Katy Perry could sing this better. Fergie could sing this better and practically did, on “Big Girls Don’t Cry.” Who knows how an actual singer might do?
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Kat Stevens: Think how awesome the line “you’re still in me, like a broken arrow” would be if Fergie had sung it instead. I miss Fergie’s solo career like a child misses its blanket.
[3]
Frank Kogan: This could have been a fine track if Pixie had known how to make the basic weakness of her voice its center, the voice as broken as the story. Instead, we’ve got generic, wooden “quirkiness,” and singing that tries and fails to reach emotional heights.
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Alfred Soto: Gulps, husk, and the potential of selling a song to the top rows of Meadowlands. But she loves electric strum more than those striking vocals — maybe more than tired metaphors.
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Zach Lyon: Nothing about this works well enough to make up for the fact that fickleness is the least sympathetic personal problem to write a whiny song about. It sounds like she’s stuck between Edward and Jacob, so maybe this just isn’t meant for me or anyone above fourteen.
[1]
Jer Fairall: Conveniently appearing here hot on the heels of Faith Evans’ achingly pretty “Gone Already”, as this resembles something of a steroidal version of that song, although not as much as it does a carbon copy of Charice’s equally banal “Pyramid”. Still, some research on whether those pleasant strums that bookend the chorus are the product of a real acoustic guitar or just some canny production trick did lead me to this nice piano-and-voice version of the song which reveals an actual singer performing a pretty decent ballad that the single version’s nuance-free production is intent to obliterate.
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