Go on…
[Video]
[6.43]
Wayne Weizhen Zhang: Listening for the first time, I have to admit that I was nervous; which force would dominate — Tiwa Savage and her collection of immaculate Afro-beats, or Sam Smith and their unfortunate tendency to emanate existential dreadfulness when doing to hard for a ballad? I’m happy to report the former won out: “Temptation” is a delightful truffle of a song, rich in vocal delivery from both participants and surprisingly harmonious in its collaboration.
[7]
Juana Giaimo: Being honest, I thought Sam Smith would be more annoying in this. I’m glad they could control their high-pitched voice, but I still find that something is lacking here. I guess she is trying to be more accessible to western culture, but it’s a rather plain track (the chorus seems especially weak and repetitive) that passes unnoticed.
[6]
Jacob Sujin Kuppermann: Sam Smith has always had a gorgeous voice that has been best used outside of the balladry that they achieved solo success with. Here, they adapt to afro-pop with grace and skill — they don’t blend into the production aesthetics, but instead soar in with the measured bombast. Tiwa Savage is the more natural sounding performer — she sounds about as good as she always does, which is to say she sounds very good — and her strong work on the hook allows for her guest to shine.
[7]
Katherine St Asaph: By now I’m convinced Sam Smith might just be better as a guest than a solo artist; “Temptation” is their best since “Promises.” I’m reminded of Dawn Richard, in the vocal layering, and Everything But the Girl, in the lush arrangement and the way Smith and Tiwa Savage’s vocals approximate Tracey Thorn from different directions.
[7]
Alfred Soto: The arrangement is pretty if sedate: saxophone peals blow like an ill wind, the percussion goes flippety-floppety, and neither Tiwa Savage and Sam Smith sound bothered, much less tempted.
[5]
Brad Shoup: A soprano sax smears a rising note halfway through Smith’s verse and I’m transported across the Kozway. The beat drips like a leaky roof, and the final 20 seconds dissolve into the same mist from which “Right Here, Right Now” emerged. A Balearic circling seduction, significantly aided by Smith gamely pairing their smooth-R&B melismas with Savage’s micro trills.
[7]
David Moore: Millennial schlock is prominent on the nostalgia industrial complex radar, so I’m thinking a Wild Things bid for straight-to-streaming prestige schlock. This swampily seductive track would add a dash of class to the proceedings, Sam Smith included.
[6]