835 Sentences With "idolator" | Random Sentence Generator

"Everyone hates @TheChainsmokers," Idolator wrote, @-ing the electronic duo that is Alex Pall and Drew Taggart in November.

"Lol wtf" That's The Chainsmokers on Twitter, who, scrolling through their mentions, came across a tweet from pop culture site Idolator.

In 2018, authoritarianism continued its rise, with Horrendous' "idolator-in-chief," one Donald Trump, squatting in the eye of the storm.

Idolator released the demo version of "6 Inch," which features The Weeknd as the main vocals, and it revealed the differences between The Weeknd's version of the track and Beyoncé's.

Photo by Kevin Winter/Getty Images for 22017 KIIS FM's Wango Tango "Lol wtf" That's The Chainsmokers on Twitter, who, scrolling through their mentions, came across a tweet from pop culture site Idolator.

Mike Wass of Idolator called it "a sugary, disco-tinged banger".

Idolator listed the video 11th among the best music videos of the year.

Retrieved 3 May 2013. Idolator considered the song to be a knock-off of Far East Movement's "Like a G6", and more old school than "How R U Doin?."Daw, Robbie (23 September 2011). Aqua’s “Playmate To Jesus” Video Is Goth-tastic. Idolator.

According to Christina Lee of Idolator, the song is more vulnerable than Trainor's previous efforts.

For Idolator, Mike Wass called the remix "X-rated", thanking the feature guests for that.

Christina Lee for Idolator thought that the 70s disco feel embodied Daft Punk's 2013 single, "Get Lucky".

In his review for Idolator, Mike Wass called it a "wonderfully miserable" and "refreshingly realistic Christmas song".

Mike Wass of Idolator stated that the song is a "cathartic ode about making peace with yourself".

"True Blue" was covered by melodic death metal band Blood Stain Child on their 2005 album Idolator.

Rachel Sonis from Idolator gave the song a positive review calling it "the club anthem of the summer" and thought that Grande herself is "dipping her toes into exciting new waters for her upcoming record."Sonis, Rachel. "Ariana Grande & Zedd's “Break Free”: Review Revue", Idolator. Retrieved July 3, 2014.

Barack Obama Digs Jay-Z But Wishes He Was A Little Kinder, Gentler Idolator. Accessed June 6, 2009.

Both the lyrics and production were considered reminiscent of Oh Land's previous work, according to Sam Lansky of Idolator.

Sam Lansky from Idolator said "All of You" is “a deliriously euphoric dance-pop gem that rushes and crashes gloriously”.

Retrieved January 15, 2015. It also felt that vocalist Stump's vocal melody played off the music well. Idolator wrote that The Munsters sample added a 1960s surf-rock vibe to the "impossibly catchy" song.Fall Out Boy’s New Song “Uma Thurman” Blends Handclaps, The ‘Munsters’ Theme & An Undeniable Chorus: Listen Idolator. Retrieved January 15, 2015.

Mike Wass of Idolator praised the production of "My Future", which he describes has "reflect[ed] the positivity of the lyrics".

Idolator describe the song as a "looming summer smash". Another remix with Lil Mosey and Gomez was released on July 31, 2020.

In an interview with Idolator on May 8, 2020, Martinez revealed plans to record a music video for the song from home.

Wass, Mike (April 15, 2015). "Paris Hilton Promotes New Single “High Off My Love” With Nude Pic And Video Preview". Idolator. SpinMedia.

Idolator wrote that the song is "a blazing dance-pop jam" and compared it to Usher's "DJ Got Us Fallin' in Love".

The album's second track, "Behave," premiered as a "teaser track" on Idolator on April 25, 2016, four days before the album release.

Sam Lansky of Idolator describes the lyrics as "party-happy uncomplicated fun". Several critics compared the song to 2 Unlimited's "No Limit" (1993).

Idolator praised the song, calling it " a refreshingly… different pop song with an instantly memorable chorus and lyrics that positively drip with sassy attitude".

Esquire, Idolator, Just Jared Jr. Maggie co-wrote all ten tracks on the album, which was produced by Grammy-Award-winning producer Luke Laird.

Modestas Mankus from Our Culture Mag wrote: Idolator ranked the song at #34 on their list of The 75 Best Pop Songs Of 2019.

The recording also appeared on the ARIA Australian Artist Singles Chart, peaking at number six. Mike Wass of Idolator called it "an absolute party-starter".

Mike Wass of Idolator described the first two songs from the soundtrack album as "plodding bedroom anthems", deeming this song "a raunchy, club-ready anthem".

Mike Wass, writing for Idolator, called the song a "biting kiss-off" that "repositions her as an alt-pop diva". Mike Nied, also writing for Idolator, wrote the song's chorus "boasted one of the best lyrics of the year". On behalf of Billboard, Taylor Weatherby described the song as "edgy" and wrote that it "is sure to strike a chord with just about anyone who hears it".

Mike Wass of Idolator described the song as a "future hit" and claimed that Dyo's vocals sounded like "Kiiara [if she] took a handful of happy pills".

Mike Neid of Idolator said it is "one of the catchiest songs we’ve heard from the project yet" and that it is an "irresistible and relatable bop".

Mike Nied of Idolator called "Home" a "chill-inducing moment" and noted that it appears to be "one of the most sure-fire hits" on the EP.

Deepa Lakshmin of MTV called the video "a cheesy but cute introduction" to the song, while Mike Wass of Idolator called it "a suitably whimsical accompaniment to the song".

Unlike its other music site buyouts, this is Buzznet's first and only content partnership. The network was sold to Hive Media in September 2016, along with Idolator and PureVolume.

After hearing the leak, HipHop-N- More described Minaj and West as being a 'lethal combination'. Idolator cited the track as an example of Pink Friday's 'club-ready dance tunes'.

Mike Wass from Idolator described "Courage" as a simple piano ballad that lets Dion pull the vocal trigger as she shares important life lessons. It is raw and very emotional.

Mike Wass of Idolator characterised the song as about "feeling sexy in your own skin", calling it an "exciting addition to Zara’s discography" and complimenting its "magnificent post-chorus drop".

Drunk History falloutboy.com. Retirved January 6, 2015. The first, "Irresistible", immediately debuted at No. 1 on iTunes.Fall Out Boy’s New Song “Irresistible”: Listen To The Current Top Download On iTunes Idolator.

Idolator is the third album by the Japanese metal band Blood Stain Child. Idolator combines melodic death metal similar to the In Flames albums released before this album with electronic and industrial metal influences similar to Machinae Supremacy, particularly on "Nuclear Trance". "Embrace Me", has a piano section both at the beginning and at the end of the song. In 2006, the band signed to Dockyard1 and released the album in Europe on November 27, 2006.

Idolator finished its review by stating that after an addition of a well-known rapper, the song could hit the domestic Top 40. While reviewing the album, Becky Bain of Idolator stated that "Wet" along with "Club Banger Nation" would strike a chord with clubgoers. David Griffiths of 4Music named "Wet" an essential addition to anybody's party playlist. In another interview by Griffiths, he named "Wet" a "cracking pop tune", stating that the "hits keep coming" for Scherzinger.

This is also when Brown joined the BET "Music Matters" program, performing on their stages in both Los Angeles and NYC. On December 21, 2012, Idolator premiered "Highway to the Sky." Highway 85 was then picked up by Global 14, Idolator, Centric, Rap-Up, Singers Room, Ryan Seacrest's AXS Live, Huffington Post, and USA Today. Soon after, "Menage A Trois," "City of Angels," and "Highway to the Sky" were added to the KCRW Los Angeles radio rotation.

The track was also included in the 2014 compilation Now That's What I Call Music! 49. While Idolator has also referred to it as the album's third single, no official release proceeded.

On 4 November 2014, the track "Stars" was put on iTunes as part of a pre-order of the album. Stern of Idolator called the song a "bright and self-empowering number".

Mike Wass of Idolator said the tracks reflect Finneas' minimal and alternative sound. Both songs were later included on Lo's reissue album Sunshine Kitty: Paw Prints Edition, released on 22 May 2020.

The music video was directed by Chris Applebaum.Mike Wass, "Olivia Holt Follows Up 'History' With New Single 'Generous'", Idolator, September 12, 2017. It was premiered on Vevo and YouTube on September 26, 2017.

Mike Wass of Idolator described the track as a "country-tinged ballad". Writing for Billboard, Ellise Shafer called it "reflective" and a "folk-infused ballad" about "the continuous cycle of a toxic relationship".

Bill Lamb from About.com described the song as "riveting and atmospheric". Tom Ewing of Freaky Trigger noted it as a "complete pop greatness". Mike Wood from Idolator called the song a "rap rhapsody".

Idolator is a music blog. Created by the blog network Gawker Media in August 2006, Idolator was later sold to rival blog network Buzz Media (later titled SpinMedia), which also owns Stereogum and Spin. In September 2016, the website was sold to Hive Media along with Buzznet and PureVolume. From the 2007 departure of original head writer Brian Raftery until November 2009, the blog's head writer was Maura Johnston, who was the sole remaining original contributor for the blog before her departure.

Louise Bruton from The Irish Times said the song's message addresses "the marginalised and the mistreated". While reviewing Beautiful Trauma, Mike Nied of Idolator praised "What About Us" for being an "insightful statement" and lauded the "effortlessly cool" production. Mike Wass, also from Idolator, favored the track's blending of acoustic and electronic elements, and praised Pink for being able to create a political song "without being obnoxious". Lewis Corner of Gay Times called the track "a scaling anthem ready for an arena show".

Robbie Daw of Idolator compared Nelly's line "on the way you shaking your anus", to Kesha's "Cannibal" (2010). After three and a half minutes, "Lose Control" segues into the slow jam "Let Me Down".

Mike Wass from Idolator described "Imperfections" as Dion's most contemporary-sounding song in years, with catchy chorus about self-reflection: "I've got my own imperfections, I got my own set of scars to hide".

Mike Wass from Idolator described "OMG What's Happening" as a "loved-up banger" that "finds the pop star head over heels". Writing for Us Weekly, Nicholas Hautman stated that the song was "disco realness".

Mike Nied of Idolator described the song as "more of the punchy determination that we have come to expect from her music and is shaping up to be a nice addition to her discography".

Penguin Prison is an electropop project composed solely of New York City singer, musician, producer and remixer Chris Glover."Penguin Prison (No 664)", The Guardian. Retrieved 22 June 2012."Penguin Prison: Popping Up", Idolator.

B was "boisterous and energetic" during the show. Becky Bain from Idolator, commenting on the Jimmy Kimmel Live! appearance, thought that despite Mars and B.o.B playing the track in several places, it still sounded "lovely".

Mike Nied from Idolator wrote that "There’s something so euphoric about how she wholeheartedly embraces the feel-good vibes that is bound to speak to listeners", and that the song was "Relatable and gorgeously produced".

Mike Wass of Idolator noted how both "Pity Party" and Grace's single "You Don't Own Me" are based on Lesley Gore songs, saying "there seems to be a revival of the late [Gore's] music afoot".

Mike Wass of Idolator opined that the song "doesn't reinvent the wheel", but regarded it as "a no-brainer for pop radio and manages to inject a little emotion into the increasingly soulless club banger".

In an interview with Idolator, Martinez expressed interest in making a music video for "Test Me", saying that she wrote a video treatment and that "it all depends on how much people connect with it".

The music video was released alongside the song on April 19. It was called "retro-inspired" with "cute costumes" and "vibrant set-pieces" by Idolator. As of November 2019, the clip has over 255 million views.

Carl Williott from Idolator complimented Mike Will Made It's production contributions, and called the track "pretty". Carolyn Menyes of MusicTimes commented that the track "gets its point across and is tender" despite "under-utilizing" Cyrus' vocals.

Pop Crush stated that :Ciara is back in a big way.: Idolator compared the song to past songs by Ciara saying "It has a similar vibe to her past slow burners, like 'Never Ever' and 'Ride'".

"I Don't Care" is a pop and dance song which lyrically finds Cole singing "It feels so fucking good to say, I swear that I don't care". Idolator website editor Bianca Gracie noted that the song carries "an 80s carefree vibe to it, thanks to the breezy synths and pumping bass line", and in contrast to her other songs like "Ghetto Baby", there are no "massive bass drops or an in-your-face dance theme". "Only Human" is an electro-ballad, with vocals layered in the style of Imogen Heap according to Bradley Stern of Idolator, the song contains encouraging lyrics built over a glittering production. "Stars" is a song Cheryl wrote for her fans, the song's lyrics are "inspiring" described by Stern of Idolator as "bright and self-empowering", "Stars" is an electronic song backed by shimmering and stomping production.

Aguilera's vocals on "Elastic Love" were compared to those of Gwen Stefani (photo) by Becky Bain for Idolator. Upon its release, "Elastic Love" received positive reviews from most music critics. Becky Bain of Idolator provided a positive review, writing it "fresh", "bouncy" and "interestingly bereft of Aguilera's power notes". Ray Roa for Consequence of Sound wrote that "it sounds like a something that could make the stiffest indie-wallflowers bob their heads", while labeling it as "another forbearer of what looks to be one of the summer's best pop releases".

In April 2009, other contributors to the blog were laid off by Buzz Media, with the exception of Chris Molanphy, who offered to continue writing his 100 & Single column on a voluntary basis until Johnston's departure. Idolator has had several moments of controversy, including one that was initiated by a post made by the blog that claimed that a post made by Wired News made several predictions that Idolator believed were widely inaccurate. The blog also took advantage of controversy surrounding the Pazz & Jop critics' poll by The Village Voice in November 2006.

He regarded the song as a combination of "future, trap, tropical and just plain electro elements" into "a gorgeous production". Mike Wass of Idolator believed that the song is "their most accessible and euphoric offering since 'No Money'".

It was also featured in Idolators column "Silent Shout", which covers non-accessible singles that "might" be pop music.Willott, Carl (July 21, 2016). "Silent Shout: Void Pop, Clique Bait & Crystal Castles To Get You Through The End Times" . Idolator.

That same year, Blood Stain Child released their third studio album, Idolator, which was co- produced by Tue Madsen, a popular producer from Denmark. In 2006, Blood Stain Child signed with Dockyard 1 and released Idolator in Europe on November 27, 2006. Idolator was later released in the United States through Locomotive Records on July 17, 2007. In April 2007, Blood Stain Child announced the addition of a new vocalist, Sadew, and a new guitarist, G.S.R. On July 18, 2007, Blood Stain Child released their fourth studio album, Mozaiq in Japan, which was also co-produced by Tue Madsen. It was then released in Europe on July 20, 2007 with an exclusive bonus track "Cosmic Highway". On June 12, 2010, Ryu announced on his official blog that Sadew withdrew from the band due to personal reasons. Drummer Violator left the band as well, in order to take care of family business.

Writing for Idolator, Mike Wass described it as "a suitably lighthearted affair", commenting that its "retro look" is similar to Trainor's previous music videos, with the singer "rocking vintage fashions and working behind the counter of an old- school diner".

Wass, Mike (June 24, 2014). "Paris Hilton Hasn’t Given Up On Pop Music, Announces New Single “High Off My Love”". Idolator. Retrieved on February 22, 2015. Hilton also cited Fifty Shades of Grey as an inspiration for the music video.

" Becky Bain of the website Idolator was also positive, saying that: "it's the perfect vid to welcome the Summer season." Eliot Glazer from MTV Buzzworthy positively said that: "Ms. Lopez still looks just as good! It's like she's aging in reverse.

The next track, "See No More", was described by Idolator as a "club/R&B; track that departs quite a bit from his pop-rock days" and lyrically speaks of memories of a past relationship that don't seem to fade. Lewis Corner of Digital Spy called "See No More" a "slice of dramatic synth-pop about adolescent anguish". Idolator wrote that the fourth song, "Love Slayer", featured "pulsating club beats, [an] array of catchy hooks and [an] anthemic chorus." Jonas claimed the song is about a girl that is the "hottest girl in the room" and will "break your heart".

Broadway World called the track a "heaven sent slice of R&B; pop replete with a truly anthemic chorus and an irresistible groove". Idolator felt the song had "shimmering production", an "irresistible chorus", and that Payne and Stella have "striking vocals" and chemistry.

"Show Me" premiered on Idolator on August 3, 2011. The song appeared as a bonus track on 'Now That's What I Call Music! Vol. 39' and was featured in the ABC Family original movie "Teen Spirit". It was released digitally on August 23.

Whitney Shoemaker from Alternative Press wrote that "Halsey strips things down in her raw new track". Mike Nied of Idolator wrote that the track "finds her at her most poetic over sparse keys", while writing that the song "doesn’t exactly scream radio hit".

It received a generally positive response from critics; Tiffany Lee from Yahoo! Music complimented Aguilera's figure, while Sam Lansky from Idolator drew comparisons to the cover of her fourth studio album, Stripped (2002). Lotus was released on November 13, 2012 by RCA Records.

The video also contains around 100 extras including kids, samba dancers, models and others intended to represent the diversity of the Brazilian nation. Wass of Idolator praised the video, writing that Martin "looks great" in it and mentioned the Brazilian scenery was "pretty awesome".

Becky Bain for Idolator praised the song for not sounding as "generic" as Katy Perry's releases "California Gurls" and "Teenage Dream" (2010). Tom Byron for The Vine compared the song to Australian singer Guy Sebastian's "Who's That Girl" (2010) and Madonna's "Who's That Girl" (1987).

However, AllMusic criticized the album for what it considered to be its weak lyrical interpretations. Emily Tan of Idolator gave 3.5 out of 5 stars said that Sanchez has proved you don't need to win a singing competition to put out a winning album.

"" Howard Cohen from Herald-Journal described "Run Away" as "tuneful". Robbie Daw from Idolator described "Run Away" as a "energetic, strobelight-friendly" hit. Liverpool Echo noted it as a "rousing pop/rap track with an escapist message.""MC Sar & The Reel McCoy: Run Away".

4 April 2012. Idolator gave the video a very negative review saying "this is ridiculous. In the video for her single 'R.I.P.', British singer Rita Ora comes off like a second-hand Rihanna, from her wardrobe to the Talk That Talk-cribbing song itself".

Christina Lee of Idolator wrote that the song "sounds like a cautionary tale", in comparison to "Slow Hands". Mike Wass of the same publication opined that the song is "similarly upbeat" as "Slow Hands", and found it "more radio-friendly" than Horan's "stripped-back songs".

"Super Rich Kids" addresses young, wealthy characters' ennui and fears of the financial crisis with dry humor. The song's chorus takes the lyrics from Mary J. Blige's "Real Love".Lee, Christina (May 4, 2013). Michael Buble Sings Frank Ocean’s “Super Rich Kids”: Watch. Idolator.

"Bad as the Boys" received generally positive reviews, with critics praising its production and lyrics. Mike Wass of Idolator called the track "a banger" and "every bit as good as the preview suggested". Billboard writer Stephen Daw said the song is "a light, summertime bop".

" For Sam Lansky of Idolator, "Livin' It Up" "sounds more robust in the context of the album." Bradley Stern of MuuMuse called it a "fresh, Island-infused anthem shimmers with a summery vibe, embracing the #YOLO-pop phenomenon without ever coming off as trite.

Mike Wass from Idolator described "Another Life" as a "slick pop record with an extremely catchy chorus and impressive vocals." The song debuted and peaked at number 47 on the ARIA Singles Chart dated 29 July 2013. The following week, it fell to number 71.

Mike Wass, "Cyrus Wins 'X Factor' Australia, Drops 'Stone' Cold Smash," Idolator, 25 November 2015. On 20 October 2017, he released his debut single "Apartment", along with a music video for the song.Jon Ali, "Queer Necessities: Billboard Pride's November Playlist," Billboard, 1 November 2017.

Melissa Maerz of Entertainment Weekly called the song "triumphant" and wrote that Keys "shows off her trills and her cocky attitude". of Idolator wrote: "We like Alicia Keys just the way she’s always been, but if she wants to be a 'Brand New Me' more power to her" and called the song "a graceful piano ballad of the sort we know and love from Alicia." Carl Williott, also from Idolator, praised the track for not being generic, calling it: "the restrained type of pop song that’s becoming harder to find amidst the deluge of hyper-processed vocals and pseudo-dubstep." Mark Edward Nero of About.

According to Bradley Stern from MuuMuse, "The 3-track set is another forward-thinking, shape-shifting offering, each with a different feature and feel." Stern described "Black and White" as a "beautiful and bizarre pop hybrid" and noted that it "set the tone" of the EP. With this statement, he compared the composition to that of American DJ and producer Kaskade. Mike Wass from Idolator commented that "the tone is very different this time", labeling it more "accessible" compared to Minogue and Garibay's "experimental" elements on tracks "Walk" and "Chasing Ghosts". Robbie Daw from Idolator found that the sound was reminiscent of Minogue's previous work.

Listen To Kanye West's Full Set From Coachella. Idolator Buzz Media. Retrieved on 2011-11-30. At a concert in New York City, West performed the song with Justin Vernon of folk band Bon Iver, a musician who West had extensively collaborated with on the album.

In 2013, Travie McCoy released "Rough Water", a single with Jason Mraz. On March 23, 2014, McCoy released the single "Keep On Keeping On" with Panic! at the Disco lead singer Brendon Urie. The music video for the song premiered on Idolator and YouTube on March 24.

Robbie Daw, "Jordan Fisher Makes Pop Debut With 'All About Us': Watch The Video," Idolator, May 11, 2016. The song's music video, directed by TK McKamy, premiered on Vibe.com on May 11, 2016.Mikey Fresh, "Premiere: Jordan Fisher's 'All About Us' Video," Vibe, May 11, 2016.

Becky Bain of Idolator wrote that, "The video is beautifully shot, and is courageous enough not to answer all its mysteries." A writer for Capital FM called it a "very cinematic video". As of July 2020, the video has received over 1.3 billion views on YouTube.

"Story of My Life" is an acoustic folktronica song with neofolk elements. It runs for a total of four minutes and five seconds. Idolator compared the song to the works of Ed Sheeran, Coldplay, and Mumford & Sons. The song is written and recorded in E-flat major.

Mike Nied of Idolator called the song and music video "a vibrant release that is sure to resonate with the hitmaker’s fans". MTV UK wrote the song contains "quite a powerful and poignant tone - all the meanwhile being so dance-able and so easy to sing along to".

The staff of Público opined that it was "full of emotion" and "willing to put its finger on the colonial wound, with ghost caravels". Mike Nied from Idolator said that "she has, once again, expertly achieved her goals" of capturing the emotions Madonna felt from the Batukadeiras Orchestra.

Idolator said that the song is "absurdly charming" and the described the song has a "faux island swagger" Kia Makarechi of The Huffington Post was critical of "Like a Champion" by saying "the biggest offender of accent and cultural appropriation on "Stars Dance" goes to this incredibly horrible song".

Fuse TV introduced NCT 127's "Cherry Bomb" describing it as edgy and explosive, and described the song as the most sophisticated track by the group so far. The lead single, "Cherry Bomb" was chosen by Billboard and Idolator as one of the best K-pop songs of 2017.

The synth arrangements escalate throughout the song. The song's musical structure has been compared to Janet Jackson's "Rock with U" and Kelis' electro-dance album Flesh Tone (2010). The beats have been described as jungle-sounding while Cassie's vocals are described as "cool and restrained". Robbie Daw of Idolator.

Mike Wass of Idolator commended "Something About the Night" as part of "a batch of killer soul anthems", alongside "Maybe I Should Call". In a mixed review, PopMatters' Devone Jones responded positively to the use of nostalgia in the song but criticized its production and chorus as unmemorable.

The promotional single was announced on August 19, 2014 via Twitter. On the same day, Jessie revealed a snippet of the song and the cover artwork on her Instagram account. In August, Jessie teased a snippet of 2 Chainz's verse on the song in an interview with Idolator.

"True Blue" is the fourth single by Japanese rock band Luna Sea, released on September 21, 1994. It was the band's first to reach number 1 on the Oricon singles chart. The song was covered by melodic death metal band Blood Stain Child on their 2005 album Idolator.

On January 18, 2011, Scherzinger booked Rich Lee to direct the music video for "Don't Hold Your Breath". The finished clip premiered through Scherzinger's official VEVO account, on February 8, 2011. According to Robbie Daw of Idolator, the theme of the video was to show drama and anger.

Mike Wass of Idolator noted that the song does not belong to the "sub-genre of pop songs about friends who become lovers", but instead is "a musical reminder to stop making a fool of yourself", calling the song "Marshmello's third big hit in a row", following "Silence" and "Wolves".

Shaad D'Souza of The Fader described the song as "an upbeat, vintage-sounding R&B; track" and pointed out that it "showcases a new style for all four artists". Mike Nied at Idolator thought the track was "a predictably catchy anthem". MTV News described the song as "party-starting posse cut".

Patrick Bowman of Idolator gave the album a rave review, rating it four and a half stars out of five. Bowman admitted that "Mars himself relishing every moment he gets to play the golden- voiced lothario dripping with swag and Versace." HipHopDXs Carl Lamarre gave it a 4.3/5 rating.

AllMusic reviewer Stephen Thomas Erlewine gave the album three stars out of five, calling it cleanly produced, tuneful, middle-of-the road pop. A negative review came from Idolator reviewer Mike Wass, who criticized the album's outdated dance pop and overwrought ballads, giving the album 2.5 out of 5 stars.

McKee and her label so far were in a conflict due to McKee's need for creative freedom. Eventually, McKee left Epic Records. During an interview with Idolator McKee revealed that she wrote over 100 songs, and that she plans to continue releasing recordings independently. > It’s like, “I’m tired of waiting.

" Jonathan Riggs from Idolator commented, "If all of human existence across time were a movie, "Return to Innocence" is the song that should play over the end credits." He added, ""Return to Innocence" was then and remains now universally epic, instantly recognizable, largely incomprehensible and endlessly moving. Like us. Like life.

Mike Wass of Idolator wrote that the track is a "throwback to the anthemic stadium-rock of Science & Faith and No Sound Without Silence" as well as a "bruised and battered breakup song" and "relatable and instantly catchy". Beth Casteel of Substream Magazine described it as a "poignant little number".

Other critics responded moderately to "OMG". Mike Wass from Idolator, who regarded it as a "basic banger" in comparison to "Havana", while Arielle Tschinker from the same publication classified it as a "decent slow jam", although she perceived a lack of "sparkle and attitude" that Cabello had with Fifth Harmony.

Popjustice wrote, "if the video is anything like the artwork 'Overdose' could be the greatest UK Christmas Number One for about eight million years." However, the single's release in the country and an accompanying music video failed to materialize. According to Idolator, "Overdose" failed to receive a "proper single release".

Robbie Daw of Idolator stated the song is "a sexy departure from the somber dulcet tones of 'Never Forget You' and the sassy pop swagger of 'Lush Life'" and went on to call it a "Rihanna-esque banger" and a "saucy gem". Entertainment Weeklys Nolan Feeney called the song "bold" and "club-ready".

The music video for "Dead" was released on August 3, 2017. It was directed by Darren Craig. The video features the singer singing much of the song in a bathtub, with scenes of Beer and an ex- boyfriend interspersed throughout. Presley Gerber Mike Wass of Idolator called the video "sexy and emotional".

In a positive review, a Your EDM contributor regarded the song as "a wonderfully melodic new release that's a surefire radio hit with an EDM-friendly drop that Garrix and Brooks fans will both appreciate". Mike Nied of Idolator called the collaboration "refreshing", deeming the song "a blending of all their respective sounds".

Daniel Megarry of the Gay Times shared the same sentiment, calling it a "cult" record among the LGBTQ+ community, and believed it "will likely be re-discovered as a forgotten jewel by pop music fans for years to come". Idolator acknowledged Bionic as Aguilera's "misunderstood opus", "a sex-positive, genre-bending triumph".

A music video accompanied the release of "Hurts Like Hell". The witchcraft-inspired video sees the singer taking revenge on an abusive man. The singer later appears at his bedside with a knife, before a witch hunt begins that builds to the video's ending. Mike Wass of Idolator called the video "delightfully twisted".

Nylon named it one of the best musical releases of the week, remarking that Jane has "finally found her sound". Billboard called the songs "wildly catchy" and "old-school R&B; with 2019 club-ready treatment". Mike Neid of Idolator called the EP a "fitting introduction to the pop star's inner thoughts".

Idolator likened the Jailer album to Jewel's debut, Pieces of You. Further, Idolator said: "Though her vocals are often weak and shaky, her tone sounds delicate and sweet on all these simple tracks...[The] songs [are] written in her range, so she doesn't have to sing (and sing-talk) in her head voice and resort to that cutesy, flirty baby coo so prominent throughout Born To Die." Pop Crush reviewer Amy Sciarretto said she could imagine Del Rey singing the album's tracks in a coffeehouse. Calling the tracks themselves "folky and fragile", Further, Sciarretto compared Del Rey's voice to that of a "little bird", saying it was no wonder that songs called "Birds of a Feather" and "Aviation" appeared on the album.

"Nothin' on You" was named one of the 100 best summer songs in a list compiled in 2010 by The Daily Telegraph. Becky Bain of Idolator, when comparing B.o.B's and Lupe Fiasco's versions of "Nothin' on You", noticed the lack of "audacious and energetic vocals" of the latter, who has "more personality" on the track.

Kat Bein of Billboard deemed the song an "emotive pop ballad" with "a slow, steady build". David Rishty of the same publication wrote that it "taps into some Bruce Springsteen vibes with strumming guitars, underground narratives and a pushing voice". Mike Wass of Idolator named the song "one of the most anthemic" on the album.

The album's release has been met with anticipation from a number of music and media outlets. Rolling Stone and WhatCulture listed it on its most anticipated albums of 2017 list. Complex named the album their 38th most-anticipated album of 2018. Idolator and Forbes also named it one of their most anticipated albums of 2018.

Becky Bain of Idolator wrote that "This track showcases more of the adventurous new directions Christina said she hoped to try on this album. We like it!" She further compared "Bionic" to works by Santigold. Michael Cragg from MusicOMH wrote that the song "sounds just like a Santigold track, which is no bad thing".

In 2015, Idolator listed the song at number 21 in their ranking of The 50 Best Pop Singles of 1995. In 1999, "Don't Give Me Your Life" was re- released, with new mixes included and a full length bonus track Megamix from 1996. A new music video was also made to accompany the new version.

"Ugly" was written by Henry Walter, Alexandra Hughes, Brett McLaughlin, Mathieu Jomphe-Lepine and produced by Cirkut and Billboard. Written in the key of F minor, "Ugly" has a tempo of 136 beats per minute. Lyrically, "Ugly" talks about a hookup gone wrong. Mike Wass from Idolator described the song as a "serious pop pedigree".

Rolling Stone, called the video "powerful" and a found "the final crescendo reaching a breaking point of true sorrow". Chris Payne, from Billboard called the music video "somber". Nicole Sia of Spin praised "the song's visual". According to Lansky of Idolator, "the clip, which is basically just Mars...sitting and singing at the piano...works".

A review of "Paralyzed" by website Idolator described the song as "a mid-tempo moment that showcases her vocal prowess", and that "off the strength of the first two singles, the "Lost Without You" hitmaker's new album is shaping up to be one of her best. She's certainly playing to her strengths (i.e. that voice)".

Berhe has listed Lauryn Hill, The Beatles, Carole King, Grouplove, Adele, Taylor Swift and Ed Sheeran as some of her musical influences. She said that "the one thing all my favourite artists have in common is they are all storytellers. Something that I try to incorporate in my music", in an interview with Idolator.

On September 30, 2014, Scherzinger performed "Run" for the first time on Access Hollywood Live. Mike Wass of Idolator praised Scherzinger's ability to "[ooze] raw emotion and [deliver] goosebumps-inducing vocal acrobatics." On October 15, she held an acoustic showcase of her album at Hotel Café Royal. "Run" was performed as the closing track.

Joshua Bote, writing for NPR, reacted positively to the song, calling it "a track that flows freely with their combined confidence and mic skills". Mike Wass of Idolator called the song "an unrepentant banger". Ben Kaye, writing for Consequence of Sound, praised Elliott's verse, writing "the slapping '90s beat is perfect for Missy [Elliott]".

" Amy Sciarretto of Taste of Country noted that the video was "heart- pinching". The Tennessean wrote that the "sweet sentimentality should score with fans of ... 'Need You Now'." However, Melinda Newman of HitFix deemed the video "sugary". Robbie Daw of Idolator wrote, "Lady A's [...] "Just A Kiss" video got us choked up after one viewing.

Mike Nied of Idolator deemed the song "a retro romance with an empowering message for women" which "has a bit more crossover appeal" over the album's lead single "Wake Me Up", calling it "another promising release" from Ma. James Dinh of iHeartRadio regarded the song as "a romantic ode to loving your own body".

"Get It Right" is a "somber" pop ballad performed by Lea Michele. Becky Bain of Idolator said song sounded like it could "actually live" on country airplay. According to the sheet music published at Musicnotes.com by TCF Music Publishing, "Get It Right" is set in common time with a tempo of 84 beats per minute.

Many internet publications, including About.com and Idolator, placed The Aquabats' performance of "Pool Party!" on their lists of Yo Gabba Gabba!s best musical guests, while DVD Talk, reviewing the episode on a home video release, considered the band "a perfect addition to the show" and highly praised the episode's music, calling "Pool Party!" "tremendous".

A day later, Madonna appeared on France's Le Grand Journal show. She performed an edited version of "Living for Love" and "Ghosttown". Nicaise described the performance as "an intimate interpretation of the already known ballad". Writing for Idolator, Bradley Stern described it as a "deeply emotional performance", where Madonna stood against a piano and sang the song.

In June, the group released their third EP, Cherry Bomb. All of the songs on the album, save one, were co-written by Taeyong. The title track, "Cherry Bomb", was later named as one of the best K-pop songs of the year by Billboard and Idolator. In 2017, Taeyong participated in two collaborations with fellow SM Entertainment artists.

Mike Wass of Idolator called the song a highlight on its parent album. Suzy Exposito of Rolling Stone placed the music video on a list of the 10 best Latin music videos of July. Alex Blynn praised the single, writing "The track feels eminently danceable, fun as hell and offer[ing] a new take on classic Pabllo-sounds".

Idolator included "Beyond Memory" in the "Top 10 EPs & Mixtapes of 2016" list. "Beyond Memory" was played on BBC Introducing in July 2016. The EP features remixes by Ministry of Sound DJs Nilesh Parmar and Liam Keegan, as well as Swedish producer, Oscillian. Nina released her fourth single "One Of Us" in collaboration with Metropolis Studios and M:UK label.

The song's official remix, produced by Cid Rim, removes the "pop rock" edge of the song in favor of an electronica and hip hop-influenced sound. In this version, the verses display handclaps underneath Ferreira's vocals, which are more pitched than in the original and "cut up" as well. Carl Williott of Idolator billed it as "an intriguing listen".

On June 14, NCT 127 released their third EP, Cherry Bomb. They returned to the stage on M Countdown, performing the new songs "Cherry Bomb" and "0 Mile." Billboard and Idolator both later declared "Cherry Bomb" one of the best K-pop songs of the year. On August 17, NCT Dream released their first EP We Young.

The song received positive reviews from music critics. Robbie Daw of Idolator praised the song saying: "'Blame' somehow feels fuller and more rounded-out, structurally, than much of [Harris'] other output. Call it a new era for the Scottish producer/DJ." MTV Australia described the song as "hot" and "sure to have the crowd singing loud and proud".

Kina discovered featured vocalist Snøw from listening to his covers on YouTube. The song was described by Idolator as a "moody chill-pop anthem" and "equal parts sad, romantic and oddly relaxing", and is 60 beats per minute and in the key of C# minor. The music video was directed and drawn by animation artist JonJon.

Musically, "Hurts Like Hell" is a dark pop song with a trap-influenced beat. It also contains a "pointed message" and a "bone-jarring chrous". Mike Nied, writing for Idolator, compared the song to Beer's previous single "Dead". Beer's vocals, which are distorted by synths in the song, were described by Billboard as "deep and soulful".

Nicole Engleman of Billboard, called the song "fierce". She additionally praised Offset's verse in the song, stating his vocals "add texture" to the song. Mike Nied, writing for Idolator, also complimented Offset's verse, calling it "perfectly at home on the beat," while also stating "it is definitely possible to imagine the pair dominating radio in the coming weeks".

Mike Wass of Idolator called the preview of the song a "sultry banger that already sounds like a hit", saying Marina "coos" the line "But I'm already someone else's baby" over Clean Bandit's "seductive, Latin-tinged house beats". Billboard labelled "Baby" a "flamenco-infused track", opining that Fonsi's verse in Spanish provides it with a "distinctive Latin flare".

Idolator says that "Derulo knows how to get the public interested in the hip-hop star again—follow every trend there is". Robert Copsey from Digital Spy gave "Ridin' Solo" three out of five stars and wrote that it "is still another catchy, engaging effort that should keep Derulo near the top on both sides of the pond".

Rachel Sonis from Idolator said that the black-and-white feel of the video was "very reminiscent of the visual for her 1989 hit 'Rhythm Nation'", while Hayden Wright from Radio.com website noted that the video "takes a monochromatic cue from past videos like 'Scream' (which she shot with her late brother Michael) and 'Rhythm Nation'".

During a review for Liberation for PopCrush, Bobby Olivier called "Twice" "a sparse and pensive track" and described the intro of the song as "harmonic". Althea Legapsi from Rolling Stone opined that the lyrics contemplate "the duality that can be found with love", and Mike Nied from Idolator deemed the singer's voice, calling it "as strong as ever before".

Mike Nied of Idolator called the song "a romantic mid-tempo", writing that "the dreamy vibes and fierce production could make for a massive radio hit". Justin Moran of Paper sees "an optimistic shift in the tone of Sivan's work" on the track, compared to tracks from the singer's debut album like "Talk Me Down" and "Suburbia".

"Tell Me You Love Me" received acclaim from music critics, who mostly complimented its production and Lovato's vocals. Elias Leight of Rolling Stone called the song "a swelling ballad full of horns and handclaps". Mike Wass of Idolator described the song as "a fiery mid-tempo anthem". Jeff Benjamin of Fuse called the song a "booming ballad".

The video ends with The Weeknd running out of the bar, still burning. Time reviewer Nolan Feeney wrote that The Weeknd "shines the spotlight on Tesfaye as he delivers a (literally) explosive performance". For Bianca Gracie of Idolator, "the usually-moody singer is refreshingly energetic". Jon Blistein of Rolling Stone deemed the video "simple but riveting".

Lauren O'Neill of the same publication wrote that the song "pretty much follows the structure" of "Too Good at Goodbyes", making Smith's voice "predictable", which he called "a shame when there's so much to work with". Mike Wass of Idolator wrote that the song "introduces aspects of hip-hop into his sound and finds him singing about world issues".

He also praised the band members chemistry on the song. Mike Wass from Idolator thought the track was an "irresistible anthem" that left him "hooked" after one listen. He particularly liked the "guitar-pop direction" because it differed from the more dominant charting electro-pop songs. Perez Hilton described the song as infectious, great and awesome.

Upon its release, the song received mixed reviews from music critics. Jordan Sargent of Spin described the remix as "a delightfully sunny song that nudges up against soca." Carl Williott of Idolator described the remix as "refreshingly carefree and simple", but ended up saying that it "doesn’t amount to anything more than a momentary blip on the radar".

The band liked the double meaning, relating to family and a feeling of brooding in their music. They released their debut single, "Bridges", online in October 2013. The song was picked up by Idolator and other music blogs, earning over 200,000 streams in a week. MTV described the track as "a bittersweet synth-pop echo chamber".

"Forgot to Laugh" is a song by American actress, singer, songwriter, musician and record producer, Bridgit Mendler, from her debut studio album, Hello My Name Is... (2012). It was written by Mendler, Emanuel Kiriakou, Evan Kidd Bogart, and Andrew Goldstein, with the production being handled by Kiriakou and Goldstein.Album liner notes The song was premiered on Idolator on October 4, 2012.

The music video, directed by Harrison Boyce, was exclusively released on Idolator and Vevo on the same day. On July 22, 2016, Gordon announced that she was no longer using the stage name Wynter Gordon. Instead, she will be going by her birth name, Diana. On July 25 Diana Gordon shared her first single under her own name, "The Legend Of".

On July 3, 2014, the Narrative released, to digital retailers, their lead single from the album, "Chasing a Feeling" premiered courtesy of American Songwriter. The music video for "Chasing a Feeling" was directed by the photographers Sean O'Kane with help of Hilary J. Corts, and shot on November 11, 2013, at Allentown, PA. It was premièred on July 28, 2014, on Idolator.

Becky Bain from Idolator was unsure if the video "was [a] nice homage to the women in music who have come before her," or if Hilson was "just playing a hilarious game of dress up." The video was nominated for Video of the Year at the 2011 BET Awards, and Best Dance Performance at the 2011 Soul Train Music Awards.

Horan formally announced the track on social media on 26 September 2019, posting its cover art and writing "After nearly 2 years since Flicker I'm ready to go." Horan initially tweeted the link to his website the day before, which crashed soon after. From the snippet posted to Instagram, Mike Wass of Idolator stated that the track "sounds like a stomping, upbeat anthem".

"Ribs" received favorable reviews from music critics on its release. Mike Wass of Idolator praised the song's "vulnerability" and called it an "obtuse offering". Lindsay Zoladz of Pitchfork opined that "Ribs" was the best song Lorde had written so far. Pretty Much Amazing wrote a mixed review of "Ribs", describing it as a song with "slower, driving beats" that go nowhere.

Brandon Yu of SFGate regarded the song as "a catchy electro-pop tune", and that it "sounds like a surefire summer radio staple". Mike Wass of Idolator referred the song as "one of the year's catchiest pop songs in early July", and felt that the "very on-trend" drop evokes Kiiara's debut single "Gold" and Kygo and Selena Gomez's collaboration "It Ain't Me".

About the song, Capaldi revealed in a social media post that it "is by far the most personal tune" he has ever written and stated that the previous year has been "absolutely wild" for him. According to Idolator, the song "deals with the emotional aftermath of suicide", and was inspired by the suicide of Capaldi's aunt while Capaldi was a child.

The music video was directed by Titanic Sinclair and released in August 2018, and features Poppy giving a pill to various human test subjects. It depicts a retelling of Poppy's rise to fame in a futuristic dystopian world. Idolator called the video "suitably chilling" to match the song. It has received over five million views on YouTube since its release.

The Line of Best Fit called the song "an undeniable highlight [and] also perhaps the best example of the lyricism and pop sensibility Carpenter brings to [Singular: Act I] as a whole, creating image-heavy scenarios that are then exploded into a chorus with sticky hooks and a massive pay-off." Mike Neid for Idolator described the song as "funny".

The tempo of "Love in This Club Part II" is much slower than that of the original song. Idolator compared the slowing-down to the remixing of R. Kelly's "Ignition" (2002). Usher has said that he likes Part II more than the original. The tune samples The Stylistics' 1971 number "You Are Everything", written by Thom Bell and Linda Creed.

Writing for Idolator, Mike Wass opined that Goulding "asserts her independence" on the track, "telling Mr. Clingy to stop sniffing around her business because she's bus[y] having fun [...] over Ilya's thunderous beats", concluding that it is a "banger". Caian Nunes of Popline wrote that Goulding finds "great inspiration in hip-hop" on the track "without losing her pop [sound]".

Alternative Press called the song a "jam", while Popdust dubbed it as "a full- blown addiction". Mike Wass from Idolator described the song as a "monstrous electro-anthem". In a review of From the Outside, Heather Phares noted that the song "takes its cues from late-2010s trends like tropical pop and EDM, but the hooks are all Hey Violet".

"Flying on My Own" received positive critical reviews. Mike Wass from Idolator described it as a soaring dance-pop anthem, an incessantly upbeat, campy banger. Furthermore, it suggests that Dion's upcoming album, Courage, is going to be full of surprises. According to Hilary Hughes from Billboard, with "Flying on My Own", Dion has "written" her own Sin City nightclub anthem.

In his review for Variety, Jem Aswad viewed that "Say Something" is one of the "best disco songs in recent memory". He wrote that it has an "irresistible chorus" and a "driving rhythm", as well as "perhaps unintentionally relevant lyrics". Mike Wass of Idolator compared the song to those of Scissor Sisters and St. Vincent, and commended its "majestic, serotonin-raising chorus".

Pia Mia first revealed the title of the song in an interview with Idolator, revealing it would be the next single to be released from her upcoming album after "Princess". Pia Mia shared a snippet of the song on July 18, 2020 on her social media. She later revealed the cover art of the song three days before its release.

New Amsterdam Books. Kindle Edition. Quote: "At a spiritual level, the slave was possessed of the same value as a freeman." and a believing slave is regarded as superior to a free pagan or idolator. The manumission of slaves is regarded as a meritorious act in the Quran, and is recommended either as an act of charity or as expiation for sins.

Idolator writer Jon Reyes gave the album 4 out of 5 stars and wrote that JoJo is "sauntering in with Mad Love sounding totally refreshed". Pitchfork writer Vanessa Okoth-Obbo gave the album 7 out of 10 stars and wrote that "Mad Love. sounds like an album that JoJo needed to make, and one that her fans were waiting for".

Something no one should ever have to witness." Amy Sciaretto of PopCrush wasn't "sure that Girls Aloud are the correct people to deliver that message" because they are "five stunning women who likely never had anyone tell ‘em they were ugly." Sam Lansky of Idolator thought that the track "may not rival Girls Aloud's best work, but it's not a complete disappointment.

"Black and White" has received positive reviews from music critics, with Robbie Daw of Idolator commenting, "somehow Kylie has found her old-school dance music mojo again, and we’re all the better for it". Digital Spy whilst expressing surprise at the collaboration, nevertheless remarked, "there's something oddly warming about Shaggy's slightly stilted rap reassuring Kylie: "I need you in my arms, girl"".

Beck Bain of Idolator described the video as "visually stunning", while Metro writer Lee Ann labelled it as "shocking". Co-writer of "Man Down" Theron Thomas felt that the video was very theatrical and that Rihanna played her role "perfectly". He continued to say that had the video been a lyric-by- lyric representation, the narrative would have been more "graphic".

Writing for Rolling Stone, Rob Sheffield called the song the best one on the album. Jon Dolan of the same website described it as the "hottest slinky Seventies electro-soul jammy". Idolator reviewer Mike Wass described it as a "contender for the song of [2013]." The A.V. Clubs Evan Rytlewski thought that the song was "the last great disco song" of 2013.

He further concluded that "it is – only just – brilliant, and will become an equally beloved and despised curio among fans". Mike Wass from Idolator, said it was a "daring, successful experiment [...] sprawling and perhaps unnecessarily baroque, but it burns with ambitious and anger. And still manages to be pop". Rolling Stones Rob Sheffield hailed it as "a rare moment of Madonna understatement".

Bianca Gracie, "Jordan Fisher From 'Grease: Live' Releases New 'Counterfeit' Track: Listen," Idolator, February 1, 2016. Fisher's first single, "All About Us", was released on April 15, 2016, and produced by Warren "Oak" Felder of the production duo Pop & Oak.Ella Ceron, "Why You Need to Put Grease Live!'s Jordan Fisher on Your Playlists ASAP," Teen Vogue, June 21, 2016.

The song received acclaim from music critics. Mike Wass of Idolator called it "surprisingly upbeat", praising it as "catchy, full of glorious pop hooks and undeniably feel-good." PopCrush called it "a commanding, almost guttural-sounding slice of stuttering electro-pop, with lines punctuated by [literal!] snarls and sharp exhalations" and "it's a nonstop showcase of brilliant melodies and Mastiff-sized hooks".

The video follows Jepsen as she cavorts with a male model and jumps transcendently before a gray background. Idolator blogged: "That part doesn’t totally make sense, but visually, it's a nice motif, sort of." Brittany Galla of AOL Music wrote that the video for "Tonight I'm Getting Over You" was more mature and emotional than the one for "Call Me Maybe".

Commentators also likened "He Like That" to other tracks released by Fifth Harmony. Citing it as one of the best songs from the album, Mike Nied from Idolator wrote that it "oozes confidence and sex appeal" absent in their previous single "Down" (2017). Varietys editor Cris Willman identified "He Like That" and "Sauced Up" as "deep pleasures" from the album.

"Real Deal" represents a musical departure for the singer, veering away from the "power-pop vibes" of her previous music, and instead incorporates elements of old school R&B.; Jessie J described the single as having a "summer vibe." Mike Wass of Idolator wrote that the song contains a "distinct hip hop edge." The single's production contains hard-hitting drums.

Mike Nied of Idolator opined that the song reveals a different side of Zayn. He felt "refreshing to hear him making a sonic risk". Nied also stated that the video narrative is a dramatic affair relating "the overarching narrative he created for the era". Entertainment Tonight selected it as one of the top 20 best songs of 2018, ranking it number 16.

Burns released her first single "Ugly" on June 16, 2017. The single received positive attention from critics, with Mike Wass of Idolator writing that Burns and the song had "serious pop pedigree." The single was featured in a commercial for Beats Electronics and Balmain headphone collaboration starring Kylie Jenner. She released her second single titled "Burn Slow" on August 11, 2017.

Allison Stubblebine, writing for Nylon, called the song the "perfect bittersweet ode to getting over a relationship; a little bit sad and nostalgic, but encouraging of owning your worth and moving on". Mike Wass of Idolator labelled the song "easily the duo's most arresting single since "You Ruin Me", and deserves to find a lot of at home and abroad".

Billboard said the track had "shuddering pop production" and an "oscillating beat", while Idolator called it "one of the best pop songs of 2019" as well as "ruthless catchy and endlessly danceable". Paper described the song as a "nervy, heart-racing bop with a jittery beat (a little reminiscent of "Disturbia") about being unable to sleep without an absent lover".

" In 2017, BuzzFeed listed the song at number 26 in their list of "The 101 Greatest Dance Songs of the '90s". Robbie Daw from Idolator called it a "simmering dance rendition". Music & Media commented that "away is the sandpaper vocal of Bonny Tyler, the edge now comes from the dance context put into the ballad. Needless to say it's an upbeat song anno 1995.

" Robbie Daw from Idolator said; "Is it possible for a song about heartbreak to sound this upbeat? Betty Who makes it seem effortless." Nic Kelly from Project U (in a review of the extended play) said "'Heartbreak Dream' follows the single 'Somebody Loves You' in its size and romanticism. It’s real ‘close the curtains, make sure the door’s locked and jump around your room singing it’ stuff.

In July of the same year, English band Rixton released a cover of "Problem". Idolator wrote they "replaced the brass-heavy original with soulful harmonies, snaps and nasty guitar licks. No Iggy section to be found here, but with lead singer Jake's powerful chops at the forefront, the rap is hardly missed." The a cappella group Pentatonix covered the song on their album PTX Vol.

While making her debut televised performance, Lil Wayne did not appear alongside Porcelain Black. In an interview with AOL's NoiseCreep, Porcelain Black described her first televised appearance as "intense, amazing, surreal", revealing that prior to the performance she was very nervous stating "Oh my god! I'm about to give birth to a panic attack!" Becky Bain of Idolator compared Black's styling to that of Lady Gaga's.

Idolator named the music video the 2nd Best of 2019. Shondaland named “Motivation” as one of the 10 Best Music Videos of 2019. Several publications including Billboard, Paper Magazine, The New York Times and Genius noted "Motivation" for being among the music videos following a larger cultural trend of early-'00s nostalgia. Cosmopolitan listed it as one of the best choreography-centric videos of 2019.

Mike Nied of Idolator regarded the song as "the pair's strongest release in 2018 and boasts one of their most restrained productions to date". He noticed the song of being more introspective compared to the duo's previous work, writing that "[Taggart's] voice effortlessly compliments their featured vocalist". Chantilly Post of HotNewHipHop opined that the song "shows [the Chainsmokers'] talent for creating chilled out, introspective tunes".

"Happy Days" received mainly a positive response from music critics. Megan Williams form IDOL Magazine praised the song's "sincere lyrics and catchy hook". She also remarked how Candy managed to keep her natural attitude despite the musical shift compared to her early material. Mike Wass from Idolator gave a positive review, noting its accessibility compared to Candy's past material as well as its relatable chorus.

It features Trainor singing over a "funky, retro" beat. Trainor sings the lyrics, "What you sipping on that got you talking crazy? Looking at me sideways, always coming at me," over an incandescent beat. According to Idolator writer Mike Nied, the song is a confident take-down of a disrespectful suitor, that has "fiery" production and playful lyrics and Trainor sounds "right at home" on it.

Michael Love Michael from Papermag listed "Okokok" as one of the "10 songs you need to start your weekend right" saying "the breezy pop track, is full of catchy tropical sounds and sweetly detached vocals from Burns that will have you dreaming of a drop-top summer." Mike Wass from Idolator described the track as "an explosion of pop hooks with hip-hop-influenced production".

The song received critical acclaim. Mike Wass of Idolator said it is a “mood-lifting anthem”. Jason Scott of Popdust stated “Instead of projecting the message onto herself and her own journey, [...] she etches out a storyline of hope as she reaches out to her fellow underdog. Platten, who is a testament that age (sometimes) is no boundary to pop, then climbs higher on the monumental chorus.

Sam Lansky of Idolator noted that the song is musically similar to their breakthrough hit "What Makes You Beautiful". In contrast to One Direction's previous singles, the lead vocals are predominantly sung by Zayn Malik. According to the digital sheet music published at Musicnotes.com by Sony/ATV Music Publishing, One Direction's vocal range in the song span from the note of D4 to A5.

Robbie Daw of Idolator also felt that the track was a "typically Mariah-esque ballad". Michael Cragg of musicOMH was critical of the song, writing that it is a "limp ballad" which he thought was trying too hard at recreating some of Carey's previous material, and concluded by writing that it "ultimately ends up making you want to hear the original version more than anything".

Usher finds that the woman is, yet again, merely an illusion. He opens a locket to reveal a portrait of himself and his partner, which freezes over and cracks. As the video ends, Usher kneels, and the mountains breaks around him, leaving a sole pillar for him to stand on. Idolator noted similarities in some scenery between the music video and Madonna's "Frozen" video.

The second single, "Til Death", peaked at No. 3 on the US Hot Dance Club Songs chart, and No. 16 on the ARIA Singles Chart. The album later produced a further two singles, "Buy My Love" and "Still Getting Younger". In August 2011, Wynter began a two-month stint as the supporting act for Patrick Stump's second US tour.Wynter Gordon Joins Patrick Stump On Tour Idolator.

Jim Farber of the Daily News stated, "The Winehouse-y number finds Dion fully convincing in her woozy, boozy phrasing". Mike Wass, of Idolator wrote, "It's an inspired choice, taking Celine down an entirely different path. It's very Adele – all smoky vocals and retro soul production complete with gorgeous strings. This is a great sound for the diva and she should consider revisiting it on future endeavors".

Melissa Tropnas of Global Grind described the cover as "ethereal" and a reviewer form Rap-Up described it as "celestial." Bradley Stern of Idolator called the cover art an "accurate representation" of Aiko's music. On August 18, Aiko released the song "Spotless Mind" onto iTunes as a pre-order leading up to the album's release. On September 2, the album was made available for streaming through iTunes.

"Bellyache" was met with mostly positive reviews from music critics, with a number of them praising the lyrics and production. Mike Wass, writing for Idolator, called it a "sinister synth-anthem that positively seethes fury and frustration". Writing for Elle magazine, Estelle Tang labeled the song as a "banger about bad decisions". Eve Barlow of Vice described "Bellyache" as "totally psycho" and "perfectly pop".

After leaving the music industry in 2014, Hamlin returned to her previous work as a fashion and commercial model in her native Sweden. In 2016, she revealed via her personal Instagram account that she had changed careers and is now a home interior stylist and set designer. In May 2017, her work was featured in a collaboration with the Swedish headphones and accessories brand, Urbanears.Lansky, Sam. Idolator.

"My Shadow" received generally mixed reviews from critics. The website Idolator, said: "My Shadow" sounds a bit too similar to Jordin Sparks' 2009 single "Battlefield". Amy Sciarretto from Pop Crush gave the song a review: 'My Shadow' is a bit of a romantic ode, where Jessie refers to her lover as a shadow who never leaves her side. She gets all breathy when singing about him.

The opener and lead single, "All the Ways" is a love song, inspired by the work of ABBA. Mike Wass of Idolator described the song as having "cute synths" and a "pure- pop sensibility." "Marry Me" is a ukelele-driven song about Trainor's desire to make things official with her significant other. Trainor said that she wrote the song in a hotel room with Sabara.

"365" is a song by Russian-German music producer Zedd and American singer Katy Perry. It was released on 14 February 2019 along with its music video, directed by Warren Fu. The song has reached number one in Flanders (Belgium), Bulgaria, the Czech Republic, and Israel, and the top forty in twenty other countries. The song also received praise from Rolling Stone, Spin, Paper, and Idolator.

Remember a time when pop videos didn't have to shimmer and sparkle, when you didn't need choreographed dance routines or outlandish costumes? Remember when cars and cleavage was enough? Madonna clearly does." Robbie Daw of Idolator agreed, writing that the video is "the most fun visual [Madonna has] offered up in years... All in all, a fantastic video for one of the more mediocre tracks off MDNA.

Musically, "Ra" is a ballad, and a departure from Inna's club sound, a "whole new era" according to Jonathan Currinn from website CelebMix. Mike Wass, writing for Idolator, noted that it "represents an important step in the 'Hot' hitmaker's journey from Hi-NRG club queen to a more mature, well-rounded artist". In the song's refrain, Inna repeats the phrase "Yo mejor me voy" (I better go).

A lyric video was produced for the song with a Wild West theme. An accompanying music video was released on 12 August 2014 again with a Wild West theme. It was directed by Marc Klasfeld, and stars Ray Liotta who portrays a villain and Jamie Gray Hyder, portraying a hero. Idolator said the video was "refreshing" and called it "a special effects-filled extravaganza".

At the 1996 Brit Awards it won the Brit Award for British Single of the Year. In 2003, Q Magazine ranked the song at number 910 in their list of the "1001 Best Songs Ever" and in a UK poll in 2012, it was voted number 11 on the ITV special The Nation's Favourite Number One Single. In 2015, Idolator called the song a "pop masterpiece".

"Diamonds" is a song by American rapper Megan Thee Stallion and American singer Normani. It was released on January 10, 2020 by Atlantic, as the lead single from the soundtrack to the film Birds of Prey. The song samples "Diamonds Are a Girl's Best Friend" by Marilyn Monroe, making this the first song to directly sample the jazz classic according to the music blog Idolator.

Sasha Geffen of MTV News and Nick Levine from NME shared that the song is reminiscent of school dances. Geffen also felt the track was "smooth". Mike Wass of Idolator enjoyed the track, noting it is inspired by the soul music of the 1970s and 1980s, and describing it as "a cross between Atlantic Starr and The Commodores". Anna Tingley of Billboard considered the song "catchy".

For "Deliver", Fifth Harmony sing about sexuality, though lyrics such as: "Yeah, my baby knows that I deliver / That's exactly I'm gon' do." Mike Nied of Idolator wrote that its message revolved around a "promise to unleash a sexy time". The Knoxville News Sentinel's Chuck Campbell described the hook as "aggressive R&B;". Members of Fifth Harmony had varying opinions on the single's influences and sound.

In 2011, Gwyneth Paltrow performed a cover of "Turning Tables" in the Glee episode "A Night of Neglect". Adele performed "Turning Tables" at Live at Largo in Los Angeles on 9 February 2011. Robie Daw of Idolator recognized the performance as "intimate" and commented that it featured Adele's soulful vocals simply accompanied by "haunting" piano chords. She performed the single on VH1 Unplugged on 3 March 2011.

The song received generally positive reviews. Sam Lansky of Idolator called "Live It Up" an "obvious summer smash", which is "as thrilling as highly derivative dance-pop gets". He praised the song's production and its chorus, while criticizing Pitbull's involvement in the song. When the solo version of "Live It Up" was released, Lansky commented that it should be made the "official version" of the song.

This cover version features background vocals by actor Andy García and also references the Mexico–Guatemala conflict of 1959, part of which had been seen by Cher's character, Ruby Sheridan, Donna's mother, along with her long lost love, Fernando Cienfuegos.Review by IDOLATOR Retrieved 21 June 2018 2:43 pm Cher's solo cover version without background vocals by García appears on her 2018 ABBA tribute album Dancing Queen.

In October 2014, Lennox released her sixth solo album, Nostalgia. The album is a collection of Lennox's childhood favourite soul, jazz and blues songs. Critic Mike Wass of Idolator stated that Lennox "puts her own inimitable spin" on the selected tracks. The lead single "I Put a Spell on You" received its first radio play on 15 September 2014 by Ken Bruce on BBC Radio 2.

Artie Smith was the instrument technician. "Sugar" was first announced to be the third single from V in September 2014. Interscope Records distributed the song to contemporary hit radio stations in the United States on January 13, 2015. The same day, the band unveiled the official artwork for the single that features red-colored lips holding a sugar cube; Mike Wass of Idolator called it "candy-colored".

Mike Wass from Idolator described the video as "a fairly simple affair" and noted that Mauboy "looks pretty and there's some nice scenery." Take 40 Australia praised Mauboy for keeping the video PG-rated "unlike a lot of artists these days." Chris Urankar from InStyle magazine noted that in the video, she is "in amped-up party mode." Nova FM called it a "carefree" video.

Some sources regard Lovato as a mezzo-soprano and her singing voice has been widely acclaimed. Nick Levine of Digital Spy, commenting on her vocals on Don't Forget, stated, "she's certainly a stronger singer than the Jonases. In fact, her full-bodied vocal performances are consistently impressive." Becky Brain of Idolator wrote that Lovato has a "killer voice and the A-list material to put it to good use".

Rap-Up described the song as a "bedroom banger", while Billboards Gil Kaufman agreed, describing the song as a midtempo sensual ballad that sets the tone from the beginning with lyrics such as "Breakfast in bed, got me moanin'/ Before you go to work/ I need you to go to work". Wass from Idolator compared the song to similar content and themes as "Motivation" (2011) and "Kisses Down Low" (2013).

"Super Love" is an uptempo dance-pop and synthpop song that displays elements of R&B.; The instrumentation is provided by a piano, synthesizer, banjo, violin and guitar. According to Mike Wass of Idolator, the song starts with a piano "before it explodes into an upbeat pop moment." Jake Cleland of The Vine compared "Super Love" to David Guetta's work, Avicii's "Wake Me Up" (2013) and Katy Perry's "Firework" (2010).

Mike Wass of Idolator gave the song a positive review saying, "A fiery kiss-off anthem, 'Battle Cry' finds the divas coming to terms with their bad boyfriends. Bebe sings in a hook-filled verse, while Havana handles the chorus over a light dub-step breakdown [and] the track exceeds all expectations." However, Kevipod on Direct Lyrics expected better, writing "I find it to be a bit disappointing".

Ryan Reed of Rolling Stone opined that the band manages to "blend the experimental and accessible" on the track, writing that it "builds to an arena-worthy chorus with massive, choral-style backing vocals and electronic effects". Scott T. Sterling of CBS Radio deemed the song "a big and powerful ballad that highlights Reynolds soaring and impassioned vocals". Mike Wass of Idolator stated that the song features a "sleepy tempo".

According to Mike Nied of Idolator, the singer "laments her ability to find true companionship over acoustic strings". Lasting three minutes and 33 seconds, the song is influenced by tropical, reggae and Latin music. According to sheet music published by Sony/ATV Music Publishing on Musicnotes.com, "Real Friends" is composed in the key of C minor and set in common time at a moderate tempo of 92 beats per minute.

Mars has performed the song in several shows. On January 11, 2013, Mars sang "Treasure" and his previous single "Locked Out of Heaven" on Jimmy Kimmel Live. On May 19, Mars began the 2013 Billboard Music Awards with a performance of the single on a set decorated with disco balls. The website Idolator described his style during the performance as "Michael Jackson-esque, circa Off The Wall and Thriller".

Madonna's voice spans from G3 to B4. The verses start off with F major and then the chorus leans towards D minor, the bridge and the ending sections changes to D major. Louis Virtel from Idolator said on the song "[Madonna] begs for forgiveness, and her only accompaniment is stark acoustic strumming." Madonna utilized her vocal lessons for Evita during the recording of "You'll See" and "One More Chance".

In April 2017, she was picked as Elvis Duran's Artist of the Month appearing on NBC's Today show with Hoda Kotb and Kathie Lee Gifford performing her hit "History". Her single "Generous", which was written by Fransisca Hall and MoZella, was released on September 22, 2017. The song's music video was directed by Chris Applebaum.Mike Wass, "Olivia Holt Follows Up 'History' With New Single 'Generous'," Idolator, September 12, 2017.

Kirsten Spruch of Billboard described the track as a "ground-shaking opener". Mike Wass writing for Idolator labeled "Copycat" as a "raised middle-finger to all the fakes and frauds". Katherine Cusumano of W magazine cited the track as a "don't-eff-with-me opening statement". Commercially, "Copycat" did not enter the Billboard Hot 100, however, it peaked at number 12 on the Bubbling Under Hot 100 chart.

However, he noticed it copied the work of Morris Day & The Time and "takes these old sounds, but it presents them with energy and inventiveness and charm and balls". Robbie Daw of Idolator called the single "a straight-up ass-kicker" and not a "half-hearted stab" at recreating the "70's groove". He also praised the song's lyrics like "Michelle Pfeiffer, that white gold" and "gotta kiss myself, so pretty".

Caitlin McBride of the Irish Independent commented that the track was "actually pretty good". Several critics likened the song to the group's 2000 single "Pure Shores". Robbie Daw from Idolator viewed "One Strike" as "easily one of 2016's best pop songs so far" and noted that All Saints were "in fine form". Daw opined that the track shared the "musical magic" and "enthralling" qualities of "Pure Shores".

On January 25, 2016, Idolator posted a snippet of a song called "Lowkey" and wrote that on January 27, Ebro Darden would premiere Dev's first single on Beats1 from her upcoming second album. Dev worked mainly with her friend-producer NanosauR, Dave Tozer and Rey Reel. "Lowkey" was released on March 8, 2016. The song was praised by the critic and compared to Selena Gomez's "Good for You".

According to Patrick Bowman at Idolator:, the album features the same alternative rock and pop punk sound of Paramore's previous albums. Ben Rayner of the Toronto Star stated the band abandoned the emo genre in favor of power pop. Technology Tell's Benjamin Duham described it as having a "more pop-rock direction". At Entertainment Weekly, Kyle Anderson characterized it as a "Blondie-indebted 21st-century new-wave album".

Musically, "Kill Em with Kindness" is a groove-driven dance-pop song. Its electronic production is composed of airy synths, added bells, and a whistled hook, connected by a tropical breeze. Cristina Jaleru of The Washington Times called "Kill Em with Kindness" an "approachable dance track", while Mike Wass of Idolator noted that the whistle hook recalled Adam Lambert's "Ghost Town". According to the sheet music published at Musicnotes.

" Robbie Daw from Idolator described it as a "bouncy" tune. Brian A. Gnatt from The Michigan Daily stated that the song "carries through with the good ol' familiar style". Music & Media noted it as a "mid-tempo dance tune with a dominant, deep beat and the bouncy melodies which have become Ace of Base's musical trademark. Short and snappy, this single can be played at any time of the day.

Rapper Minaj was praised for her vocals on the track. "The Light Is Coming" received lukewarm reviews from music critics. Mike Nied of Idolator described it as "a serious dance floor filler", writing: "The light is coming to give back everything the darkness stole," [Grande] chants over militaristic drums and slippery synths. Her voice is confident and sounds perfectly at home as it races over the searing production, courtesy of Pharrell.

"Empire, Kitty (2010-11-19). Review: My Beautiful Dark Twisted Fantasy. The Guardian. Guardian News and Media Retrieved on 2010-11-19. Becky Bain of Idolator called the song epic, but felt that Rock's appearance served as a detriment to the song, writing; "we’d kill the last two minutes with Rock’s unfocused, not-as-funny-as-we-think-it’s-supposed-to-be rambling, but otherwise, this is quite a beautiful track.

Salvatore Maiki of The Fader described the track as "catchy", while Mike Wass of Idolator wrote that its blend of genres was a "heady mix". Gabriel Aikins of Substream Magazine named it one of the best songs of the week, claiming that "when it comes to introspective, atmospheric tracks, there are few doing it better right now than Joji," and commended the artist's vocal performance and Raisen's production.

All four singles were be released under Perez's independent record label Cherry Pie Records. On May 14, 2020, it was announced that Perez had signed to Electric Feel Entertainment and Republic Records. Perez released the single "Princess", her first single released under her new label, on May 15, 2020. In an interview with Idolator, Perez confirmed the release of the single "Hot", which will feature on her upcoming debut studio album.

Sam Lansky from the website Idolator classified it as one of the "instantly likable moments" in the album, and a "perfectly solid throwback". Bradley Stern from MuuMuse singled out "Outta Time" and "Boys Don't Cry" as the album's "biggest surprises" for their "throwback soul" sound; opining that they put a "fresh spin on vintage sound" and likened their "big, pure pop" choruses to those present in The Ronettes' songs.

" The A.V. Club included it among the 40 best songs of 2016 (first half). Billboard critics ranked "Can't Stop the Feeling!" at number 33 on their "100 Best Pop Songs of 2016" list, adding "the rhythm is eventually gonna get you to dance." Digital Spy considered it the 19th-best pop song of the year, while Idolator named it the 20th-best song of the year, for "feel- good" and "infectious.

Boddez named the song as "pretty fantastic". All Music's Stephen Thomas Erlewine commended Sheeran's collaborations choices, as it not only reaches new audiences, but also the choice of a "pop star as big as himself." Mike Nied of Idolator lauded the collaboration as it was "surprising" the singers reached a "common ground on a rock-infused anthem". The Tennessean Matthew Leimkuehler was pleased and surprised with the "headbangin" recording.

Sam Damshenas of Gay Times described it as "incredibly catchy and addictive". Mike Wass of Idolator opined that "the dreamy mid-tempo anthem showcases her voice and hints at the R&B;/pop direction of her side-project". Billboards critics' list placed it second on "Every Fifth Harmony Solo Single, Ranked" in March 2018, while "Love Lies" topped Billboards critics' list on "Every Khalid collaboration, Ranked" in April 2019.

Peter Vincent, "What will Jessica Mauboy sing at Eurovision?" The Sydney Morning Herald, 4 May 2014.Mike Wass, "Ferras, Tarot Cards & A Metaphysician: A Different Kind Of Q&A;," Idolator, 4 October 2016. He produced three songs on Stan Walker's 2010 album From the Inside Out, including the singles "Homesick" and "Choose You" (which he also co- wrote).Cameron Adams, "Stan Walker's first original offering," The Daily Telegraph, 18 August 2010.

The song received positive critical reviews. According to A Bit of Pop Music, "Lying Down" is a modern pop ballad, in which Sia's style suits Dion's vocals and makes her sound contemporary. In this "powerful tune", the build up is "bombastic" and the vocals are "larger than life". Mike Wass from Idolator described "Lying Down" as a soaring electro-ballad, about jettisoning the baggage that comes along with a toxic relationship.

Writing for Idolator, Bianca Gracie and Robbie Daw rated the song 7/10 and 8/10 respectively, stating that the song is "incredibly vibrant in an almost childlike, blissful way that gives such an energetic rush" and that it is "the best Coldplay single in seven years". Rolling Stone ranked "Adventure of a Lifetime" at number 41 on its year-end list to find the 50 best songs of 2015.

Paul Gore directed the video, which was released on August 4 and featured in NBC's Rio Olympics Preview Special the same day. The video was filmed in Snow Canyon State Park and Sand Hollow State Park in Utah. It shows Perry struggling to get her parachute to fly while traveling through canyons and water. Mike Wass from Idolator gave the video a positive review, saying that "the execution is flawless".

They lip-sync and dance in "extravagant clothes from the designer". Ashley Iasimone of Billboard commented that Mars and Zendaya both dressed in Versace, calling the video "stylish and sensual". Mike Wass of Idolator found the music video to be worth the wait, adding "the video has every chance of going viral". Vibes Jessica McKinney felt the chemistry between Mars and Zendaya, saying "things got pretty steamy on set".

Markos Papadatos of Digital Journal described "Broken Glass" as "quite powerful, and worthy to be her next smash hit", with "an inspirational and encouraging message to it". Writing for Radio.com, Scott T. Sterling called it "cathartic". Mike Wass of Idolator referred to the song as "an uplifting feminist anthem", while Taylor Weatherby of Billboard called it "a happy tune that serves as a confidence booster for any listener".

Carey makes various movements with her body around a barn, while Miguel sits in a red convertible. Mariah is then illuminated by the headlights, and Miguel is dazzled by her beauty. Sam Lansky of Idolator commented that "the clip is not complicated, it's basically an opportunity for Mariah look amazing, what she does! Her body is sexy and she seems to have about half her age in a superior culture".

Neil Genzlinger from The New York Times said that the song is the highlight of the movie and "showing the verve and stage presence the other performers lack". Bob Smithouser from The Pluggedin said the song is one of the album's best along with "Start the Party". "We Rock" and it encourages people to follow their dreams. Kate Richardson from Idolator was positive and commented that the song "really shine".

Robbie Daw from Idolator stated the song was another "absolutely fantastic cut from All Saints, and a lovely follow-up to previous single 'One Strike'". Attitude magazine called it "stellar", whilst Exclaim!s Yasmine Shemesh classified it as "anthemic". In another positive review, Courtney Buck from The 405 commented, "Full of heavy drums and sharp strings, it's another booming anthem to add to All Saints' already full arsenal of anthems".

Official Charts gave the song a positive review, saying "This is a flirty, carefree and confident Emma who is taking control of the situation with the man of her dreams." Attitude called the song "another slice of the smooth '60s-styled radio pop that came to define Emma's solo sound in the early to mid-noughties". Mike Nied of Idolator called the song "infectious and with plenty of replay factor".

Annie Zaleski from The A.V. Club appreciated the song's graceful nature, calling it a "slinky come-on". Philip Matusavage from MusicOMH appreciated the song's jazz influences, noting that it "suggests that Kylie and jazz could make for great things". Jeff Katz from Idolator singled out the song as the "Most Surprising Reworking" on the album. Jude Rogers from The Quietus, however, felt that the song does not "respond well to this (orchestral) treatment".

On 14 September, Lewis performed "Thunder" live on Good Morning America in New York City as part of their Fall Concert Series. Bianca Gracie of Idolator wrote that Lewis performed the track with "her always-stunning vocals". On 21 September, the singer sang the track on The Late Late Show with James Corden. Two days later, Lewis appeared on The Talk where she was interviewed about I Am and once again performed "Thunder".

"All About That Bass" was accompanied by a music video directed by Fatima Robinson and choreographed by Charm La'Donna. The clip was shot over a two-day period which began on May 8, 2014. It was premiered online by music website Idolator on June 10, 2014. Robinson conceptualized the clip's look "with pastel colors", trying to show Trainor as "a little innocent-looking girl doing, like, booty-bumping dance moves", to which Trainor agreed.

Treat Myself has been described as pop, doo-wop, funk, and R&B.; It makes use of club-ready dance rhythms, contemporary R&B; hooks, screwdriver bass lines, shimmery synths, and bright vocal overdubs. According to AllMusic's Matt Collar, Trainor fully engages the "slick, hip-hop-infused funk" musical styling of Bruno Mars on Treat Myself. The record consists of some "irresistible bops" alongside mature love songs according to Mike Nied of Idolator.

Locke has cameo roles in the horror film Excess Flesh, the hit series Jane The Virgin and the Hallie Meyers-Shyer film Home Again, starring Reese Witherspoon. In 2015 Locke released his debut EP “Blue Heart” featuring #ThisCouldBeUs as the lead single. His musical influences include Prince, Jimi Hendrix, Lenny Kravitz, Michael Jackson, Beyoncé and Madonna. His work has been featured in The Huffington Post, Out Magazine, Idolator, GLAAD, Logo's NewNowNext, Upworthy.

Nicole Sia of Idolator called the clip Brown's "Video of the Year" and complimented its "stunning dream imagery". A writer for The Edge called it "another visually tantalising music video" from Brown, while Rap-Up described it as surreal. Trent Fitzgerald of PopCrush described the video as "good visual fun" and wrote that it reminded him of the television series Day Break. He compared the ending to the 1999 film The Matrix.

Perry included the song on the setlist for her 2011 world concert tour entitled California Dreams Tour. For performances of the track, the stage was decorated with cartoonish link sausages and rib-eye steak that dangled from the rafters, while Perry was dressed in a catsuit. Along with Perry's performances of "Teenage Dream" and "E.T.", music blog Idolator staff writer Erika Brooks Adickman cited "Circle the Drain" as being a highlight of the tour.

When the single's cover was revealed, it divided opinions. Becky Bain of Idolator liked "simplicity of the black and white cover," though she felt it strange that the image "didn't have color or glasses." Rap-Up magazine thought the opposite to Bain, saying that "Rowland's eyes do the talking with the black-and-white artwork." On June 28, 2010, the single was released as a digital download in Belgium, Norway, and Sweden.

Jepsen would later contribute to the Bleachers cover album Terrible Thrills, Vol. 2, before lending her vocals to a collaboration on Gone Now (2017). The Y2K "Run Away with Me" remix made its Idolator premiere on August 12, 2015. The Knocks' rendition of "All That" was originally a "technically illegal" bootleg posted to Soundcloud on April 17, 2015; the pair stated that Jepsen's fondness for the remix gave it an official release.

After watching the preview, a staff member of Idolator commented that it "reminds us of our own family Turkey Day get-togethers: there are people running around in ridiculous attire, someone's crying and the hostess is a (Mother) Monster of sorts." In a three-minute teaser trailer, Gaga makes crafts and shares holiday food with third-grade children. The full TV special premiered on November 24, 2011, at 9:30 pm ET.

Allison Stubblebine of Billboard described the song as "packed with the bright symphonic elements synonymous with any Clean Bandit project". James Cabooter and Sam Mayers of Daily Star called the song "mellower". Mike Wass of Idolator called it "a sublime banger that packs an emotional punch", praising Clean Bandit for providing "faultless, intricate, multi-layered production", as well as "introducing some Asian sounds into the mix without it sounding forced or gimmicky".

"One More Sleep" garnered acclaim from music critics. Writing for Digital Spy, Lewis Corner wrote that "One More Sleep" is more "heart-warming" and "sweet" than a Christmas pudding, and that is likely to become an annual Christmas staple song. He awarded the song four out of a possible five stars. Sam Lanksy of Idolator wrote that the song is "wonderfully old-fashioned", with "ooh- oohs" sung in the background and "twinkly" production.

Raquel Rose Burger of Billboard noticed the 1990s hip-hop trends included in the music video, including the likes of tracksuits, gold chains and snapbacks, among others. Partick Bowen from Idolator found the music video "approximately 95% stunting". NMEs Rhian Daly criticized the video clip not only for its lack of originality but also the number of clichés. Daly pointed out how Mars could not stop showing off how rich he is.

Jason Lipshutz of Billboard compared "24K Magic" to the TV show Stranger Things (2016), since both evoke nostalgic feelings. Lipshutz found the single "impressive", with a "killer groove" that mashed the "G-funk" genre into a song with modern elements. He also complemented Mars' vocals and "ear for melody". Patrick Bowen, reviewing the album for Idolator, said "24K Magic" has the best chorus Mars ever wrote, being superior to "Uptown Funk" in every detail.

The video takes place in a forest and shows Aaliyah secretly watching a man dance in a clearing near a rustic village. The video moves to a circle of men watching two men fight, then Aaliyah and the man dance together in a circle of fire. Jordan Simon from Idolator felt that the video for "4 Page Letter" displayed a striking resemblance to the film Lord of the Flies and the television show Lost.

Mike Wass of Idolator wrote that the band have abandoned "the pop/punk of their first two albums and dive head-first into slick, radio-friendly pop with a rhythmic edge". Rania Aniftos of Billboard deemed it an "apologetic pop track" and a "synth-y upbeat tune". Nicole Mastrogiannis of iHeartRadio opined that it "takes a step back from 5SOS's signature pop/punk vibes" and "playing up the guys' pop side a bit more".

Critics noted similarities between "New Day" and Beyoncé "Run the World (Girls)". "New Day" has received positive response from music critics. Jason Lipshutz from Billboard gave a positive review of the song, stating that "If 'New Day' is indeed the lead single to Keys' fifth studio album, the track is her most upbeat lead single yet." Becky Bain from Idolator agreed with Lipshutz, stating that it's "one of the most upbeat songs she’s ever released".

Mike Nied at Idolator described the song as "another banger" and that it has potential to be song of the summer. Billboard magazine ranked it 40th on their 2019 year- end list. Commercially, "Only Human" peaked at number 18 on both the US Billboard Hot 100 and the Canadian Hot 100. The song quickly became pop radio's most added song of the week dated July 2, 2019, picked up by 61 Mediabase-monitored pop stations.

An official remix featuring American rapper Wale was premiered by Samsung on 28 June 2013. In the remix, Wale performs a 16-bar rap in place of Azalea's second verse in the song. The remix was well received by reviewers from Idolator, Rap-Up, The Line of Best Fit, and XXL. A 13-track remix bundle and the Wale remix was then released in the United States on 16 and 23 July 2013 respectively.

A great listen for hip-hop and electronic fans." Rose Lilah of HNHH called it "a fine addition to the growing body of work Iggy Azalea has been developing since stepping foot in the game." Sam Lansky of Idolator also noted "the beats are predictably sick, making it another worthy entry from the willowy rapstress." MTV Base wrote that the mixtape "combines booming, clattering trap production with Iggy sounding more aggressive and confident than ever.

"Bum Bum" was written by Thomas Allen, Harold Brown, Orville Burrell, Morris "B.B." Dickerson, Rickardo Ducent, Leroy Jordan, Charles Miller, Lee Oskar, Shaun Pizzonia, Winston Delano Riley, Howard Scott, and Brian Thompson. A Vibe writer described it as a dance song with reggae influences and "island vibes". Mike Wass of Idolator called it a slow jam and contrasted its "soft and mellow" sound with DeLuna's past music, which was frequently uptempo club music.

The official music video for the song was premiered by The Huffington Post. In 2015, "My Mistake" was used in a radio and TV commercial by Mercedes Benz; the song subsequently reached number 6 on Shazam's charts. "Beyond Memory" was produced by Richard X and co-produced by Sunglasses Kid. The single was premiered by Idolator, who described it as "a slice of mid-tempo moodiness overflowing with Nina's longing, and Richard X's haunting synths".

The music video, directed by Harrison Boyce, was exclusively released on Idolator and Vevo on the same day. Wynter embarked on a tour with the band in July 2014, and they were revealed to have been working on their first album alongside producer Mike Elizondo, however, no further music ever eventuated. On July 29, a new solo Wynter track, "The Hard Way", was released on Kitty Cash's "Love the Free Vol. II" mixtape.

AllMusic editor John Bush wrote that the song is a "great-sounding fusion of disco-funk and house that works well" on his review of the All in the Mind album. Larry Flick from Billboard described it as "an unassuming li'l jaunt back in time that is packed with more than a savvy twist or two." He added it as "retro-happy". John Hamilton from Idolator called it a "eccentric" dance track.

Ray Rahman of Entertainment Weekly called the video "a weird one". Becky Bain of Idolator described it as "the brats-on-parade clip", and wrote that the dedication to Yauch "would be a nice sentiment if anything in this video resembled anything Yauch stood for". Maura Johnston of The Village Voice called it a "dumb" video and wrote that it reminded her of the "Our Lips Are Sealed" video by The Go- Go's.

Laura Snapes from Pitchfork Media was enthusiastic about Hynes' production, classifying it as "immaculate", and highlighted the group's vocal harmonies. Billboards Jason Lipshutz called it an "immediately affecting" 2013 song and favoured the use of the word "miscellaneous" on its lyrics. Robbie Daw from the music website Idolator was in sync with the aforementioned comments, calling it a "synthy, handclappy, glorious pop gem that comes just in time for the summer". Carl Smith of Sugarscape.

Mike Wass of Idolator wrote that the song is a "nice way to kick off an era" that "does showcase the 'Anywhere' singer's powerful pipes and growth as an artist". Rob Copsey of the Official Charts Company wrote that the song features "opening guitar strums[,] Coldplay-sized chantalong chorus [and] catchy finger snaps, punchy electronic beats and some killer adlibs", concluding that Ora's "take on ugly crying powerhouse pop is masterfully done".

Mike Wass of Idolator said; "'Give Me Something' is a heady rush of soul-tinged, retro-leaning pop — albeit with an extremely modern twist. Jarryd begs the object of his affection for a little more affection over squiggly synths and squelchy beats. There's a splash of Prince, a touch of Chet Faker and a large serve of something completely original." Wass believes the song is "just as good — if not better than — his breakthrough hit".

He then joins two like-minded crossdressing friends as they take to the streets of New York City. The three later arrive at club where Kiesza is seen performing. Idolator reviewer Robbie Daw noted, "Kiesza takes the backseat in this one by playing the part of a club performer who gives a little inspiration to our troubled hero (ine)". During her performance at the club, Kiesza engages in a '90s-inspired dance sequence.

According to NME writer Jamie Milton, the song's lyrics detail adversity "through the lens of a relationship"; the pre-chorus represents a "flaming row" while the chorus "keeps the couple caught up in it together." Mike Wass of Idolator compared the track to songs from John Hughes film soundtracks while Nylon compared its sound to the music of American singer Bruce Springsteen. Newsweeks Tufayel Ahmed called "Don't Take the Money" an "'80s synth-pop nirvana".

" David Browne from Entertainment Weekly called it a "lament" and a "moving declaration of undying love." He noted Bell's "pained, naked wisp of a voice dips upward in the chorus ("I want to be with you")." Dave Sholin from Gavin Report said the song is "execeptional, mid-tempo Euro-pop". John Hamilton from Idolator described it as "a bleep-bloopy disco ballad featuring some of Andy Bell’s most delicate vocals to-date.

Mike Wass of Idolator was complimentary of the song describing it as a "killer single". He did label Pitbull's lyrics "questionable" but are overlooked as he "injects enough humor into the song". Steve Adams of the Winnipeg Free Press gave the song a lukewarm review, giving it two and half stars. He wrote that, compared to "Timber", "Wild Wild Love" was not "nearly as gratingly awful, but it's not anything amazing either".

Digital Spy's Nick Levine called the song "a big angsty rock ballad", finding the track "cinematic" and at times "ghostly", before mentioning that the song took several listens to appreciate. Several critics focused on the lyrics of the song, with mixed reaction. Becky Bain of Idolator began her review commending Lavigne's lyrics for "carry[ing] genuine sentiment," believing that her "words of encouragement" would "resonate" with her teenage fans. Mark Ingoldsby, of 411mania.

"Numb" featuring Rick Ross was described by Idolator as being "haunting and eerie and minimalist and a little bit trippy." "Sound of Love" featuring American singer Jeremih is a "slow jam" that last for a duration of four minutes sixteen seconds. "Sound of Love" was written by The Real Knotch and produced by the latter and Rob Holladay. "Turn Up" features rapper Meek Mill produced by Young Chop, "Turn Up" is "sinister synthscape" song.

Hurt Somebody was released in January 2018. On April 8, 2019, Kahan announced his debut full-length studio album entitled Busyhead, and included the duet version of "Hurt Somebody" as well as two other singles "False Confidence" and "Mess". It was released on June 14, 2019.Finally! Noah Kahan Announces Debut LP, ‘Busyhead’ - Idolator (published April 8, 2019) On April 30, 2020, Noah announced on his Instagram that he would drop an EP at midnight.

Bradley Stern from Idolator hosted a poll, asking viewers what was their best Madonna Grammy performance. Alongside the 1999 Grammys, Stern listed Madonna's performances of "Music" at the 2001 ceremony, "Hung Up" at the 2006 ceremony, and "Same Love" and "Open Your Heart" at the 2014 ceremony. "Nothing Really Matters" came third in the poll with 102 votes. InStyle staff highlighted the performance as one of the best Grammy performances to date.

" Lauren Green of musicOMH called it "a riotous, pumping guitar work-out." Bradley Stern of MuuMuse declared that the song is "a manic, unapologetically smutty track." Metal Insider's Tiffany Bentley was shocked by Lavigne's choice to collaborate with Manson, but felt that "Bad Girl" had some of Manson's "black magic." Mike Wass of Idolator said "It's great to hear that pop's original bad girl still nows how to push boundaries and rock the fuck out.

Some critics found similarities between "Right by My Side" and other songs by fellow female R&B; artists, specifically Jordin Sparks and Rihanna. Both Justin Ray of Billboard, Andrew Hampp of Billboard, and Robbie Daw of Idolator found the lyrics and themes similar to those of Sparks 2008 single "No Air" which also featured Brown, Andrew Unterberger of Popdust felt the song was a more successful version of Rihanna's "You da One".

Carl Lamarre of Billboard called the track an "anti-love anthem" that "finds Goulding taking a darker approach, after watching her relationship spiral". Mike Wass of Idolator felt the song is a "hip-hop-flavored banger". Jael Goldfine from Paper wrote that the song is a "moody, masochistic, tongue-in- cheek new collaboration" as Goulding "dares an ex to say all the mean, ugly things broken-hearted people say to each other".

The video includes neon tube lights as props and features multiple costume changes. Babenko impressed Fletcher with his editing of her backing dancers and managing to recreate her initial ideas for the visual. Wass writing for Idolator said that the video's choreography was presented in a "fresh and original manner". But the critic criticized the lighting used in the visual, because they found it difficult to know what was happening in certain scenes.

Maura K. Johnston (born May 28, 1975) is a writer, editor and music critic. A member of Boston College's journalism faculty, she has written for Rolling Stone, The Boston Globe, Pitchfork, The Awl, The New York Times, Spin and The Guardian. She is working on a critical biography of Madonna for the Harlequin Enterprises subsidiary Hanover Square Press. Johnston was a founding editor of Gawker Media's Idolator, where she worked until November 2009.

The song was met with positive reviews from critics. Rap-Up stated in a review "The Oscar and Grammy winner flexes her powerful pipes on the rousing record, which she co-wrote with Jamie Hartman." Mike Wass from Idolator stated "Jennifer Hudson finally found the appropriate vehicle for those bone-rattling vocals on 'Remember Me', the first taste of the diva's fourth LP is soaring mid-tempo ballad with gut-wrenching lyrics".

She has also been featured in MTV Style, Nylon Magazine, and Idolator. As an influencer, Cole has been a Buzzmaker for SpinMedia and Buzznet and in 2015 worked with such brands as Rimmel London, Guess, Coach, Mattel, Old Navy, Cross Pens, Degree, and Suave. She has also appeared in commercials for Mountain Dew, Rubbermaid, Sony, and Sketchers. Most currently, Cole is slated to be the face of the Louis XIV Energy Brand.

"This Kiss" is a mid-tempo dance-pop track which lyrically speaks about a kiss being something Jepsen can't resist and the lips of her beloved, featuring lyrics such as "This kiss is something I can't resist/ Your lips are undeniable/This kiss is something I can't risk/Your heart is unreliable" during the chorus. Carl Williot of Idolator compared the lyrics to the ones of Hall & Oates' "Kiss on My List" (1981).

A reporter from Idolator said, "We'd much rather listen to Britney's original than this uninspired remix when doomsday comes." A remixed version of "Till the World Ends", featuring pop singer Kesha and rapper Nicki Minaj, was leaked online on April 22, 2011. The same day, three countdowns with lines of the song appeared on the official websites of Spears, Kesha and Minaj. The Femme Fatale Remix was released on iTunes on April 25, 2011.

"Back to Me" was called a highlight from Act One by Idolator. The AU Review named it "Single of the Day", calling it "sexy and icy at the same time" and complimenting its "bluesy groove". For The Fader, Marian Hill's Samantha Gongol and Jauregui's voices "play really nicely off of each other". Emilee Lindner of Fuse wrote that "Jauregui's smooth, husky voice finds a home on the trippy, hip-hop-tinged song".

"We Remain" received critical acclaim from music critics. Ryan Reed from Rolling Stone magazine praised the "triumphant sounding" track "sure to be a hit at District 12 radio". An editor from The Huffington Post picked "We Remain" as one of the standout tracks from the soundtrack that "encapsulates the spirit and power of Games' heroine, Katniss". Sam Lansky for Idolator praised the single's musical departure from Aguilera's ballads for her 2012 album Lotus.

Josiah Hughes from Exclaim! called the track an "excellent tune from her endless catalogue of hits" as "Charli XCX's seemingly unstoppable pop reign continues". Mike Wass from Idolator called the song "another flawless banger" as the "anthem deals with matters of the heart", furthermore being "another stellar pop song that benefits from being a little rough around the edges". Wass soon included the track in top thirty best pop songs of Q2, 2020.

In his review for Spin, James Grebey described the song as combining Clarkson's commanding vocals and Sia's songwriting prowess to great effect, and like "Heartbeat Song" before it, the track is an earnest and empowering tour de force with a truly anthemic chorus. Reviewing for Idolator, Bradley Stern doubled that remark, saying that the song is as one might expect a pairing between the quirky singer-songwriter and the masterclass belter to be — emotionally earnest and vocally explosive.

Reviewing Piece by Piece for Idolator, Jonathan Riggs complimented the song as a "sister-in-song" of "Stronger" (2011). The Plain Dealers Troy L. Smith praised "Nostalgic" as fantastic as it takes the listener on a trip back to the 1980s. In both their interviews with Clarkson, Official Charts Company's editor Rob Cobsey and Glamours Alyse Whitney extolled it as a great song, with Cobsey also endorsing it to her as a prospective single. Jason Scott of Popdust.

"Into the Blue" received critical acclaim upon its release. Christina Lee from Idolator said "While launched by piano chords and a wash of strings, "Into the Blue" truly takes off at the seismic hook, where Minogue's crystalline voice soars over an arena-ready dance breakdown. She sounds optimistic, if not in total bliss." A reviewer from The Huffington Post gave it eight reasons why "Kylie's New Release is the Best Pop Single You'll Hear All Year".

'" The video went viral during its first week, accumulating over nine million views, surpassing the 20-million mark on YouTube/VEVO as of August 19, 2014. Robbie Daw of Idolator praised Colbie and the other women in the clip for "giv[ing] us one of the most quietly powerful visuals of the year so far." Bruna Nessif of E! Online claimed that the video "embraces natural beauty and embodies a massive amount of girl power in just four minutes.

On January 25, she performed "Pretty Girl Rock" on The Ellen DeGeneres Show, also mixing Blunt's "You're Beautiful" into the song. Backed by four female dancers, Hilson wore a white button-down shirt, knee- length pants and black heels. Robbie Daw from Idolator wrote that, "Keri Hilson amped up the sex factor." In April 2011, Hilson performed "Pretty Girl Rock" during her set at the Supafest Festival in Australia, dressed in a denim jacket, black bra and cutoff shorts.

On July 8, 2015 Nick Jonas announced the official Remix of his song Teacher; the song is remix by DJ and producer Dave Aude. In an interview with The Advocate Nick said that he was lucky to work with the Producer. At the same day of the announcement the remix appeared on Soundcloud. Mike Wass of Idolator said that the Dave Aude Remix is a fun track with a weird (in a good way) Harold Faltermeyer vibe.

Brown's vocal range spans from the note of G4 to the note of C6. The song contains lyrics about a lost loved one who exists only in a dream, as stated by Brittany R. Villalva of The Christian Post. "Don't Wake Me Up" begins with a spoken introduction by an unidentified woman saying, "Dearly Beloved, if this love only exists in my dreams, don't wake me up". Robbie Daw of Idolator compared her voice to that of Rihanna.

Lake Schatz from Consequence of Sound felt that the track "encourages self- love and perseverance". Alyssa Bailey from Elle wrote that the song was a "far more splashy take on a boy cheating on her". Mike Nied from Idolator wrote that Gomez "sings over simmering beats" while she "celebrates her perseverance after a devastating breakup". Nied also called the chorus "instantly hummable" and that it was "an absolute earworm that is bound to dominate radio for months to come".

Jon Blistein writing for Rolling Stone magazine called "Lovely" a "smoldering ballad". The Times Raisa Bruner described the song as "somber" and "haunting", writing "[there] [is] little to celebrate in the dark, brooding lyrics, but still 'Lovely' finds beautiful sounds in that pained place". Mike Nied of Idolator commended the production, describing the strings as "heartrending" and the production "atmospheric". Robin Murray writing for Clash described the track as an "internet-shattering single", and a "bold, defiant gesture".

Megan Armstrong of Billboard made the metaphor of G-Eazy's rapping being "the devil on one shoulder" and Puth's voice being "the angel on the other [shoulder]". She praised both artists for playing off their contrast in styles. Deepa Lakshmin of MTV News felt "G-Eazy's rap verses blend perfectly with Puth's smooth vocals". Mike Wass of Idolator regarded the song as "a bro-anthem" and "an ode to, and a cautionary tale about, drunken nights".

In September 2016, SpinMedia sold Buzznet, Idolator, and PureVolume to startup corporation Hive Media. In December 2016, Eldridge Industries acquired Spin, Vibe, Stereogum, and Death and Taxes via the Hollywood Reporter-Billboard Media Group for an undisclosed amount. Celebuzz, The Frisky, and The Superficial were sold to CPX Interactive. In January 2020, Spin and Stereogum were sold to Next Management Partners and the site's management respectively, as part of a larger focus on Vibe and a music data business.

Blasterjaxx casts "I Really Like You" in "darker, more grown up tones" with a "thumping electronic exoskeleton". The Bleachers remix is noted for Antonoff's signature "staccato touches" and a layering of marching drums. Its "sweeping synths" depart from the original's bubblegum-pop for a "charming '80s-inspired groove" as opined by Bianca Gracie of Idolator. The Bleachers remix was listed in Eliza Thompson's "5 Songs You Need to Hear This Week" for Cosmopolitan, calling its '80s sheen "dreamy".

Katie Stone from EDM.com called the song a "reggaeton smash" endowed with "sultry vocals and an infectious production", and noted that it's "the type of single that will get the dance floors bumping and grinding". In the same way, DJ Mag France, Switzerland & Belgium described "Fuego" as "a new hit crossover that moves away from EDM to better embrace reggaeton and dancehall sounds". Writing for Idolator, Mike Nied compared the release to DJ Snake's 2018 song "Taki Taki".

In a black-and-white filter, it features Azalea striking a dramatic pose in a chain-mail bikini top. Mike Wass of Idolator said it was "a typically sexy shot" of the rapper. The single was premiered by BBC Radio 1Xtra on 19 August 2013. "Change Your Life" was first made available for digital download in the United States on 12 September 2013, exclusively from the pre-order of an extended play (EP) of the same name.

"Love 'Em All" received primarily positive reviews from music critics. Mike Wass of Idolator praised it as a "killer lead single", and AllMusic's Andy Kellman selected it as one of the album's highlights. Kevin Apaza of Direct Lyrics felt that it would be successful on rhythmic radio, and commended it as "an anthem for many women". Vibe's Michael Arceneaux praised the single, along with the album track "Judge Me" as "the best introduction to the K. Michelle of 2014".

Howard Cohen from Herald-Journal called it a "infectious tune, bubbling with strobe-like keyboards and melody". Robbie Daw from Idolator described "Another Night" as a "marriage of memorable pop choruses sung by a charismatic female and gruff rhymes delivered by a tough-guy rapper, all laid over a thumping beat." Wendi Cermak from The Network Forty noted it as a "great dance record". The magazine also compared it to "Rhythm Is a Dancer" by Snap!.

Becky Bain of Idolator described "Deuces" as a "bitter, women-hating track" that could be "about Rihanna or just females in general", and wrote that "as damning as some of the lyrics are, this emotional jam is actually a step in the right direction for Brown". Anthony Benigno of The Faster Times observed that the song could be a reference to "the Rihanna incident", writing "is it about RiRi? Maybe, maybe not. He ain't telling, in any case".

"Not Afraid", a mid-tempo song, focuses on personal changes in Eminem, including an end to drug abuse, feuds and violence. Idolator commented that the song was based on the "dark days Eminem has lived through," and "he seems to be at peace with himself now." A writer for MuchMusic website noted that Eminem chose to use his Marshall Mathers ego for the song, rather than Slim Shady. "No Love" features Lil Wayne as a hype man.

Mike Wass of Idolator described the song as "achingly pretty and not at all indicative of what's in store for us on her 4th LP." Jordan Miller, writing for Breathe Heavy, praised Diamandis' songwriting, stating that "a song about daydreaming feels pretty perfect." Carolyn Bernucca of Complex magazine highlighted "Handmade Heaven" as one of the best songs of the week, saying Diamandis "sounds as divine as her single's title would suggest", while describing the song as "dreamy and romantic".

Haley Longman of OK! praised Martin's multilingualism and wrote that with "Adiós" he transformed it in a song form. Mike Wass of the website Idolator noted how the song's release in various languages was due to Martin's worldwide stardom. He further found the singer in a "sedate mood", similar to "Michael Bublé with a very exotic twist" and was more in favor of the Spanish version, noting how its chorus and instrumental breakdown were its key parts.

" Ramirez stated that Beyoncé sang the ballad with "impeccability." Mike Wass of Idolator praised how Beyoncé "wrung every ounce of emotion from the lyrics of '1+1' and hit each note perfectly", concluding that it was "an impressive display." Entertainment Weeklys Brad Wete wrote that Beyoncé's voice "rang soulfully, only breaking to let the crowd fill in gaps for a sing-along feel." Joycelyn Vena of MTV News commented that on "1+1", Beyoncé's vocal abilities "outshined it all.

When this video was released, Janet had been out of the public eye for several years. The video gave hungry fans a fresh eyeful of a radiant, sexy-looking Janet, murmuring a tribute to the joys of physical love." Idolator also applauded Jackson's evolution, exclaiming "Ms. Jackson had finally shed her bulky "Rhythm Nation" uniform in exchange for a midriff baring top and a choker, long before anyone would associate her name with the words "wardrobe malfunction".

Christina Lee of Idolator wrote that "the song proves that Sage the Gemini can write a smash hit if he wants". Rapup.com called the song "seductive", adding that the rappers rhymes are heartfelt. while Nick delivers a soulful hook. Brendan V van DJbooth said that "even though the rapper is the headliner of the collaboration, the song is mostly commanded by the Jonas brother, as you’ll hear a lot of his crooning over the roaring synthercizers".

For The Line of Best Fit, Chris Taylor viewed the song as a "blissful early '00s club floor-filler, the kind that gets limbs and sweat flying everywhere with abandon". In a positive review from Idolator, Mike Nied called it a "glory" and a "balls-to-the-wall delight bound to send your heart rate skyrocketing". He concluded by calling the chorus "stutter-riddled" and "a sing-along moment". Uproxx's Caitlin White categorised the song's aesthetic as "neon- tinted".

In January 2015, Italian DJ Giorgio Moroder confirmed a new musical project with Minogue and Garibay, revealing to American website Idolator that "She is doing another EP with [their] friend Fernando who did most of Lady Gaga's Born This Way." He described the approach as "very sexy and uncommercial". A year after Kiss Me Once's release, Minogue's contract with Parlophone ended. Alongside this, she announced her departure from Roc Nation and planned "to take more control over her career".

Author Christopher Feldman in his book, Billboard Book of Number 2 Singles, described the song as a "tender ballad." Billboard music editor Timothy White called the song as lilting and one of Madonna's classics in his book Music to My Ears: The Billboard Essays : Portraits of Popular Music in the '90s. He also complimented the song for talking about a dead relationship. John Hamilton from Idolator called it a "pulsating ballad", adding it as "at once lilting and powerful".

Musically, "Stop Me from Falling" is a pop song with elements of country music, and a rhythmic structure similar to Minogue's previous dance songs. Sarah Murphy from Exclaim! believed it fulfilled Minogue's experimentation with country music in Nashville, calling it "a twangy, country-pop tune that will still get your feet moving — just maybe in a line- dance pattern." Publications, such as Idolator and Spin, compared the track's sound and production to Minogue's predecessor single "Dancing".

Sam Prance of MTV News regarded the song as "one of the most uplifting and life-affirming songs of the year so far", writing that "Shawn and Khalid each other on it perfectly". Patrick Hosken of the same publication opined that Khalid's "gravelly voice pairs nicely with Mendes's own patented rasp", stating that "the message of the song is simple but effective". Mike Nied of Idolator deemed it "one of the 19-year-old's most ambitious tracks yet".

Nicki Minaj is featured on the Inferno version of the song. The Inferno version features Nicki Minaj, who wrote and rapped two new verses on the song. Minaj's vocals were recorded at Chalice Recording Studios in Los Angeles, California. The inferno remix uses the same production and sample as the main single however, the first two verses of the song were described as "understated" by Carl Williot from Idolator, with Minaj leading the remix with a new rap verse.

Carl Williott of Idolator, upon mentioning comparisons of the song to Parachutes, wrote that the song "is the first track that truly feels like it could've come from a Parachutes session. There's hardly a hook to be found, but it's a lovely, slightly forlorn sway of a song, with an acoustic guitar anchoring Chris Martin's meandering falsetto amidst some swirling atmospherics". Alex Young of Consequence of Sound jokingly stated that the song would "make for a good Starbucks soundtrack".

According to Billboards Tamar Herman, "All Night" is a nu-disco tune in the style of a bubblegum pop song that features a 1980s vibe with "thumping" bass and "twinky electronic" melody. Jacques Peterson from Idolator described the track as "funky nu-disco" that turns "a teenage slumber party into Studio 54." Lyrically, the song is a dedication to Girls' Generation's longevity and bond with their supporters which, according to Herman, is "atypical" for K-pop girl groups.

Originally just titled "ILY", the song was renamed as "ILY (I Love You Baby)" to make it easier for people to find the song. Mike Wass of Idolator described the song as a "chorus on a loop over a dreamy synth-scape that falls somewhere between Petit Biscuit and Kasbo" and praised it as "the perfect soundtrack to any blissed-out moment". Hits Daily Double called the song "the heating-up club banger" version of the original.

Althea Legaspi and Brittany Spanos of Rolling Stone wrote that the song's lyrical content "addresses following a relationship down a dark road despite warning signs" and noted the "contemplative guitar melody". Rania Aniftos at Billboard referred to the song as an "emotional tune". Writing for Idolator, Mike Nied complimented the song for being "self-aware, vulnerable and very relatable" and pointed out Jon Bellion's obvious presence on its production, calling it a "a lush pop production".

Daisy Syron Russell, formerly known mononymously as Syron, is an English singer from London with plays on both Radio 1 and 1Xtra, and classed as "one to watch" by MTV and named "one of 2012’s coolest new female talents" by ID magazine. Her music has been blogged by The xx, and Idolator, as well as tweeted about by Danny Brown. Popjustice is also a fan. Syron went to BRIT School of Performing Arts & Technology in South London.

MTV called "More Than That" a "hypnotic" and "sultry number that finds her cooly asserting her dominance". Idolator wrote that the "darkly seductive banger" showcases Jauregui's "full potential" and praised the "beguiling" production. Uproxx called the song a "first-class banger" and "an excellent showcase" of Jauregui's "smoky, sonorous voice". Earmilk complimented the production, and wrote that Jauregui "sets the bar high" with the song "packed to the rim with attitude, including ample bark to match her bite".

In the story, a remnant of that love is still haunting me even though it is 'asleep with the fishes.'" She also said to Idolator that "'Atlantis' is about knowing that I am capable of finding love, but feeling like it has disappeared like a lost city. I wanted to set a haunting tone to the lyrics because the song captures a very tumultuous and transformative time in my life. This song really takes ownership of that.

Idolator highlighted the band's intricate choreography as well as each member's ability to showcase their respective strengths through solo stages. They concluded, "The Wings Tour is the perfect introduction to the professionalism and pageantry of K-Pop. BTS is in a league of their own and the world is starting to realize it". CNN acknowledged BTS as the first K-pop act to sell out arenas in the United States, praising their evolution in the industry.

"Telepathy" garnered a positive response from music critics. Writing for Idolator, Mike Wass was initially underwhelmed by "Telepathy" upon its release. According to him, he downloaded the song regardless, and added it to what he calls his "Upbeat Xtina" playlist. He writes that a few months later, the song played on shuffle and he realized that he had previously brushed off what he now believed to be one of the best and most underrated songs of 2016.

It's a 2013 ode to another era of synth R&B.;" Molly Wardlow from the channel was however dismissive of Ross' verse, calling it unnecessary. Spin magazine's Chris Martin noted that Ross' contribution to "Do What U Want" sounded "awkward" and found similarity with Jay-Z's rap verse in singer Beyoncé's song, "Drunk in Love". Mike Wass from Idolator commented that the remix felt unnecessary, following controversy in the media surrounding Ross' lyrics in the song "U.

Idolator blogger Sam Lansky described the song as a "funky little tune, with a spoken- word bit that evokes Girls Aloud built around the following largely inexplicable hook". But, went on to comment that he found the track′s sound dated. US blogger Perez Hilton found the song decent and their voices pretty, but felt that the lyrics were confusing. Sara D. Anderson of PopCrush found the chorus was catchy but slightly irritable with the spoken-word style.

"Let Me Go" was written by Avril Lavigne, Chad Kroeger and David Hodges, with production being handled by Kroeger, who also provided guest vocals, and Hodges. It is a "piano-tinged" pop rock ballad. Carl Williott of Idolator highlighting "the most obnoxious aspects of Avril’s snotty pop and Chad’s rock-by-numbers mookery can breathe a sigh of relief." Its instrumentation features a piano, a string section, an acoustic drum kit, and electric guitars and bass.

Nick Lowe from Clash was unimpressed by the track, writing that it "showcase[s] her excellent songwriting but [is] let down by lacklustre production". The acoustic version of "Superstar" was also reviewed by critics. Mike Nied of Idolator provided a positive review, writing that Marina "breathes new life" into the song. Riana Buchman from WRBB was less impressed by the song, saying that "Superstar" and "Karma" sound like "drab copies of the originals" and ended up "clutter[ing]" Love + Fear (Acoustic).

"Sledgehammer" received generally positive reviews from music critics. Jason Lipshutz of Billboard praised the song's "EDM-meets-new-wave beat" and its "immediate hook", believing that "Sledgehammer" is "the best pop track about the physical effects of lovesickness since Demi Lovato's "Heart Attack" (2013)". It was tied as the best ranked song of the week, sharing the honor with "Don't It" (2014) by country singer Billy Currington. Mike Wass of Idolator called it "a sugary sweet synth-pop anthem with serious radio appeal".

Larry Flick from Billboard wrote, "This popular U.K. import, is showing early signs of widespread approval from a variety of dance programmers. Producer Visnadi and Alex Natale offer a jumpy bassline and carnival-like keyboards, while resident singer Shanie bumps and grinds with giddy abandon. The chorus will have you reaching for your tambourine and platform boots." Robbie Daw from Idolator described it as a "kiss-off anthem", adding it as "one big F U to a no-good ex".

Sam Lansky from Idolator praised the performance, writing that the performance featured "typically dramatic" vocals and a lot of "spectacular runs", which helped the duo sound great. During the semi-finals of the twelfth season of American television singing contest American Idol, contestant Paul Jolley chose "Just a Fool" as the song to sing on the show. On May 7, 2013, Filipino singer Charice Pempengco also made a cover of the song on the show Kris TV with her girlfriend Alyssa Quijano.

Mike Wass of Idolator described the production on the song as the most expansive of Bareilles's career, with its incorporation of "kooky staccato beats" and a "sprinkling of synths". Jason Lipshutz of Billboard described the song as "nimble", and stated that its "backing vocals, string plucks and soaring romantic declarations would make this a bid for future wedding playlists". Mesfin Fekadu of the Associated Press described the song as "a beautiful song about falling in love" which could "make anyone's irritating day better".

Mars first performed the song live on Saturday Night Live on October 15, 2016. His performance was well received by critics. Daniel Kreps of Rolling Stone magazine praised the "electric performance" describing it as a "fluid, full-scale spectacle as the camera followed Mars and his singers down a hallway and into the audience" throwing an "epic dance party". Christina Lee of Idolator praised the performance, writing that it was a party with a "California Love" vibe for the "Nae Nae generation".

He felt Tupac Shakur's "California Love" (1995) and Michael Jackson's Off the Wall (1979) influenced it. Jay Willis of GQ called the song "delightful"— the second part of "Uptown Funk". Willis praised Mars for using the same formula as the earlier single and described the intro as "reminiscent of mid-1990s K-Ci & Jojo". Carl Williott of Idolator rated the song a nine out of ten, comparing it to "Pure Funk compilations, West Coast G-funk and to Midnight Star".

"Superstar" received generally mixed to favorable reviews from music critics. Becky Bain from Idolator called it a "sweet love song" and compared it as the sweeter, more simplified version of "Ray of Light". Andy Gill from The Independent stated the song was an "obvious hit single" and compared the song to her 1990 release, "Vogue". MuuMuse's Bradley Stern complimented "the sugary-sweet, instantly summer-friendly" nature of the song, while Alexis Petridis from The Guardian described the composition of the track as "saccharine".

Heavy Rules Mixtape received positive reception from Idolator, according to which "it goes hard from the opening track and maintains that quality and energy until the final beat" Paper wrote of the release that it is "full-on pop, packed with slick club synths and smart lyrics that build into enormous choruses". Nylon wrote that the EP is "one of the finest releases to come out of the pop scene" in 2018. Finnish newspaper Helsingin Sanomat gave the release four stars.

The video received positive reviews from media outlets. James Montgomery from MTV News commented that the video is "grisly and garish, but also incredibly clever and visually arresting". T. Kyle writing for MTV Buzzworthy gave the video a positive feedback, writing "Christina manages to be fun and provocative, the styling is beautiful and even aspirational, and Legendtina's body looks amazing". Sam Lansky from Idolator website complimented Aguilera's "charming sense of humor" and deemed "Your Body" as one of Aguilera's best music videos.

Bradley Stern from MuuMuse felt "We Wanna" was a "super solid, club-ready summer jam bound to blow up from Argentina to Morocco, full of catchy hooks ('Bout to go!') and infectiously sax-y sax noises borrowed from the home of Mr. Saxobeat." He eventually found Stan and Inna outperformed Rihanna and Shakira, and Lady Gaga and Beyoncé, who previously formed female duos. Mike Wass, writing for Idolator, expressed that the track was "a guilty pleasure of the highest order".

"Human" was acclaimed by critics. Sam Lansky of Idolator applauded the song for being "properly dramatic" in its approach, noting that Perri "[sings] her heart out over triumphant production," resulting in what he described as an "epic and radio- friendly" ballad. Amy Sciarretto of PopCrush responded positively to the confessional nature of the lyrics, as well as Perri's "angelic" voice, of which she "shows a wider range than ever" in her delivery. She rated the song 3.5 stars out of 5.

Other visuals include fire, and like Neon Jungle's previous music video for "Braveheart", several neon lighting effects. Mike Wass from Idolator highlighted the video as a "neon-coloured free-for-all," while British radio station Kiss described it as "dimly-lit". The group are also backed by dancers in some scenes who engage in breakdancing. Daily Star journalist Jennifer Dunkerley described the video as "Crazy colours, big hair, flashing lights and a wild party like no other... Welcome To The Jungle".

" The same guitar chords are repeated throughout the track, only introducing sparse additional production during its chorus. Music critic Thomas Bleach observed that the song's minimal production mirrors its storyline and emotion. Who believes that "Between You & Me" remains a pop, guitar-driven song with "enough" production. Mike Nied of Idolator identified the song as a confessional track, beginning with Who singing "It’s too crowded in this bar. We’ve been small-talking so far. I can’t tell if we’re friends.

James Reed of The Boston Globe also noticed the similarity between the song's composition and the work of American R&B; recording artist Beyoncé Knowles, saying "'Raining Men', borrowing a digitized riff from Beyoncé's 'Diva', features rising rapper Nicki Minaj on a typically manic guest rhyme. The song's message doubles as the album's mantra: Some cats really do have nine lives". Idolator reviewer Becky Bain praised Minaj's "infectious and energetic verse" and felt the song's rhythm "fits Nicki's quirkiness perfectly".

Upon its release, music critics gave "Hey Hey Hey" mixed reviews. Sal Cinquemani of Slant Magazine praised Perry for being "at her most effective and comfortable". Idolator writer Mike Wass positively likened the track to material from American singer Britney Spears' seventh studio album Femme Fatale (2011), and called it a highlight of Witness. Although labelling the production of "Hey Hey Hey" formulaic, Andy Gill of The Independent also highlighted the song as one of the best on the album.

In 2014, Christina Lee of Idolator described the video as "classic Jennifer," saying: "The way Jennifer would stare into the camera – that was effortless [...] One moment she's tough, with her hard stares and insistent lyrics [...] But then she pivots her hips and sneaks a casual smile over her shoulder. She was both a diva and down-to-earth." Nine.com.au called the music video's cyberstalking vibe "creepy", with Complex magazine regarding the video as one of the "Greatest Tech Moments in Music Video History".

Overall the extended play has received rave reviews from music critics. Sam Lansky from Time magazine said that the EP sees JoJo "interpreting classic songs with inventive production and, as ever, chill-inducing vocals". He noted that JoJo's time away from the limelight, due to her constant label drama, has given her "the raw talent to rule 2014". In writing for Idolator, Christina Lee said that the EP "is respectful of R&B; tradition and is tastefully modern at the same time".

Christina Lee of Idolator compared the video's plot to that of West Side Story and – among other critics – noted heavy influence by Michael Jackson. Kyle Anderson of Entertainment Weekly considered that the video may "borrow too much from Off the Wall era", while Rob Markman of MTV said it "takes distinct visual cues from classic clips like ... 'Smooth Criminal' and 'Beat It'", and Gregory DelliCarpini Jr. of Billboard compared Brown's "vintage" appearance to Jackson's appearance in the "Say Say Say" music video.

Mike Nied from Idolator made the observation that "Dumb Blonde" was one of the "sort of fiery banger that deserves plenty of radio play." Alex Zidel of HotNewHipHop gave a positive review and expected "Dumb Blonde" to be "iconic as both the artists behind it". He considered the song was "a definitely a feel-good joint" between Lavigne and Minaj. Conversely, Forbes magazine named the song the 4th worst song of 2019, calling it "a failed attempt at a girl power anthem".

The first single from the EP was "Bombastic", released on May 26, 2015. It was written by McKee, Charlie Puth, Sean Walsh and Axident, and is an 80s-influenced dance-pop and pop rock song. Mike Wass from Idolator says that the song "plays like an ’80s workout tape," while the music video is "jam- packed with amazing outfits from the decade taste forgot and several eye- popping poses." The official music video for the song was directed by David Richardson.

Mike Nied of Idolator opined that "the sweeping anthem offers an intimate glimpse into his deepest thoughts", with a radio-friendly pop rock instrumental, adding that the song "sounds like another sure-fire smash". He concluded by calling it "a moving and inspiring track and a wonderful taste of things to come". Gil Kaufman of Billboard deemed the song "one of Mendes' most mature efforts to date". In another Billboard article, Abby Jones listed it as his best single to date.

" A writer for Idolator called it an "industrial dance/sex epic" in addition to "infectious and raunchy," saying "Janet Jackson's unmistakable voice is used to perfection to create an eerily tropical but beautiful track." David Nathan of B&S; Magazine remarked "If" pulls no punches. Listening to it and reading the lyrics Janet wrote in a Virgin Records conference room, I blush - in itself a rare occurrence." Nicholas Jennings of Maclean's called the "guitar-driven" song a "standout" for its explicit lines.

" For Vulture, Justin McCraw stated that the song "[overflows] with sex appeal" and "oozes desire and temptation" as well as recommending playing it "after coming back from the bar with your third drink." Bianca Gracie of Fuse labelled the song's themes "fiery" and "confident" and the beats "intense." For Idolator, Rachel Sonis called it "moody and infectious" and labelled the chorus "sweltering." In Cosmopolitan, Eliza Thompson described it as a "soaring dance anthem" as well as calling Lipa's vocals "smoky.

Katie Stone from EDM.com said that "Que Calor" is a vibrant track and a melding of cultures with a dancehall-dembow rhythm that looks like El Alfa style. In the same way, Mike Wass from Idolator called the song "a rump-shaking floorfiller with enough hooks to demolish the language barrier." The flute at the beginning of the track was seen as a cover of 1993 Colombian cumbia classic "Curura" by the Afro-Colombian group Totó la Momposina with modern pop influences.

Lionel Nicaise from MCM observed that Madonna did not wear any cape during the performance. Writing for Idolator, Bradley Stern noted that the performance used an "energetic remix" of the song, with MNEK's vocals in the background. There was also voguing and during one segment Madonna climbed atop a piano to sing the song. Two weeks later, similar performance aired on The Ellen DeGeneres Show in the US, where she was joined by DeGeneres onstage at the end of the performance.

" Jamie Peck from MTV Buzzworthly commented that Lavigne is "learning to deal with things in a more grown-up fashion." Robbie Daw from Idolator wrote that "she's a foul-mouthed pop tart with a heart of gold!." Daw perceived that "those couple-breaking-up-at-a-cafe references to Debbie Gibson's 1988 "Foolish Beat" video." A positive response came from Billboard's writer Jon Blistein, who says that "It's simple, sweet, and unlike 'What the Hell', wonderfully void of blatant product placement.

Billboard magazine's Chris Payne described the music video as "appropriately epic" with "a heady, shoot-for-the-stars type of statement". Carl Williott of Idolator, who was reserved towards the song itself, felt that its video "elevates it thanks to some artfully trippy visuals". MTV UK called the video "weird and wonderful in every respect" and "magical yet poignant". The video received nominations for Best Direction and Best Visual Effects at the 2016 MTV Video Music Awards, winning the latter.

"Paper or Plastic" is a two-minute, fifty-five second pop song, which features a "mid- tempo groove". Unlike her previous material from her 2014 EP Opulence, Candy does not rap during the song and instead sings the verses. Mike Wass of Idolator felt that Candy was making a conscious move away from "the twisted white-girl rap" present in her past songs "Opulence" and "I Wanna Fuck Right Now". Wass also called the track "unusually restrained" for the artist.

The Jewish people in the Temple offer magnificent songs of praise to God. Athalia enters and is alarmed to see in "Eliakim" the very image of the child who stabbed her in her dream. She interrogates the boy and when he tells her he is an orphan she offers to adopt him, but he rejects with revulsion the idea of such close association with an idolator such as she. Athalia is enraged and departs, vowing that she will have the child regardless.

Mike Wass of the website Idolator described it as a "radio-ready anthem... [which] is impossible to beat". Vanity Fair writer Michelle Collins described it as "the most upbeat and catchiest song of the lot" on the album. Ryan Dennehy from the website AbsolutePunk opined that "XO" was a guaranteed, triumphant hit. Andrew Hampp and Erika Ramirez of Billboard magazine described "XO" as "magical" further calling it the most radio-friendly song on the entire album with its traditional pop structure.

Inner Monologue Part 1, received mostly mixed to positive reviews. While many found a strong interest and strength in the opening single “Anxiety”, Ft. Selena Gomez, others found weakness in some other tracks. Mike Nied of Idolator commented that the EP "offers another glimpse into the songwriter-turned- superstar's inner workings" and that it is "bookended by a pair of must-hear duets". Nied stated that "What a Time" "mourns the end of a relationship", and Billboard called "Anxiety" "poignant".

Idolator described the song as a "guilty pleasure" and called it "the kind of track we only select after double-checking no one's eyeing our iPod." Nick Levine of Digital Spy gave the song a perfect rating. He explained that Lavigne is "snottier than a tissue tossed in the bin down the flu clinic [but] what's more, she's pulling it off." Levine added that "What the Hell" was not "quite as undeniable" as "Girlfriend" but praised the chorus of the song.

The production maintains the "emotional center of the song" while adding "a cascading signal boost." An accompanying music video for the Cedric Gervais remix of "Adore You" was premiered through Spinnin' Records on February 13, 2014; it is a re-edited version of the original music video, primarily using scenes where Cyrus is seen lying under a bed sheet dressed in her bra and underwear. Mike Wass from Idolator felt that the remix "works quite well with the existing visual".

"Wide Awake" is lyrically about the reality of a break up and moving on, which many have believed to have been written about Perry's ex- husband, Russell Brand, since it was written and recorded after the divorce. Byron Flitsch from MTV stated that the downtempo melody of the song "highlights the song's introspective lyrics". Robbie Daw of Idolator described the song's lyrics as "universally relatable". Katy's Christian upbringing is also prominent on "Wide Awake", which references the concept of being born- again.

Idolator writer Mike Wass named the cover art "a cross between Frankenstein and Michael Jackson". Matthew Jacobs from The Huffington Post found the cover relatively modest compared to the previous single covers of songs from Artpop. John Walker from MTV News compared the cover to director Tim Burton's works and called it "terrifying". He described Gaga's face and the grills as "[resembling] the gum-less teeth of a long-buried skull cast in titanium" and believed that the hands and legs were prosthetic.

Jason Lipshutz of Billboard called "Neon Lights" a "misguided dance stunt". He explained that the song "covers well-worn electro- pop territory" and does so very effectively. He also states that the song is well done for "the blinking synthesizers and clomping bass that receive a boost from the singer's unflappable power." Sam Lansky of Idolator also described "Neon Lights" as out of place, and called it a "by-the-numbers..... concession to pop-EDM trend-following" that succeeded to dazzle.

Steve Knopper of Newsday also highlighted that "[t]he album is frequently dark and ominous, full of torch songs, with just enough stylish electronic dance music synths and upbeat melodies to enliven the mood." Mikael Wood of Los Angeles Times and Mike Wass of Idolator both compared it to the works of Janet Jackson, with Wood comparing to her 2015 record, Unbreakable in terms of sound, and Wass to her breakthrough album, Control (1986) in terms of its empowering themes.

Online's "Top Five Worst Concert Diggers", Lopez's fall was ranked at number five. Ryan Seacrest called it "the greatest recovery ever!" According to MTV, "the tumble was edited out of the West Coast feed of the show, out of respect for Lopez, by the show's producers". Becky Bain of Idolator suggested that the tumble was more talked about than the actually single itself, which was confirmed when MTV reported that it was one of the most searched things on the internet.

On 21 November 2013, Kills performed album songs "Trouble", "Saturday Night" and "Marlboro Lights" at the studios of New Zealand radio station The Edge. In February of the following year, Kills performed at the Cherrytree Records House lounge. During the performance, Kills sung in an acoustic setting, where she was accompanied solely by a guitar. Bradley Stern from Idolator praised her vocal performance—he wrote that she had previously "prove[n] herself as a capable live vocalist" and that the Cherrytree House performance was "no exception".

"Irresistible" has received positive reviews from music critics, with many commenting on the anthemic nature of the song. MTV wrote positively of the song, calling it a "frantic twist of desperation, confidence and sadism with a chugging guitar, anthemic trombones and a shout-it-at-the-top-of-your-lungs chorus. Idolator commented that the song was "stadium-rocking" and full of "horn-and-synth glory". Rolling Stone complimented the song as well, stating that it is "an arena-pop anthem about deadly love.

Priya Elan from NME mentioned the song as a highlight on the album too. Robbie Daw from Idolator felt that the song would have been a better choice to release as a single rather than "Better than Today". "Aphrodite" debuted at number 42 on the Ultratip chart in the Dutch-speaking Flanders region of Belgium, on 12 February 2011. On 26 March, it reached its peak and final position on the chart at number six, having spent a total of seven weeks on the chart.

Aguilera's vocal performance garnered a comparison to Gabby Douglas and the vocal gymnastics that she projects from Mike Wass for Idolator. He also noted that although Carey would consider the vocals runs as "over-the-top", they fit with the nature of the song. The song features a "thunderous" ironic chorus which consists of the lyrics Cause when I open my mouth, my whole heart comes out." According to Chris Younie for 4Music, Aguilera belts the song out "as if her life depends on it.

According to Mike Wass of Idolator, the song is a "raunchy club-banger" and "disco-flavored jam" that lasts for three minutes and sixteen seconds. Andrew Le of Renowned for Sound described the single as "unashamedly party song" that channels the music "glory days" of the late 1970s and early 1980s. Le wrote that "Mr. Put It Down" features slick, thick and funky arrangements which according to him are inspired by the works of the band Earth Wind & Fire and singers Prince and Michael Jackson.

In July 2016, Lipa announced that the album would be released on 30 September of that year as well as revealing the cover art. However, the cover art received unfavorable reviews from fans and critics. The following month, Lipa updated the cover art and pushed the release date back to 10 February 2017. Rachel Sonis of Idolator described the cover art as "minimal yet smoldering" and features Lipa in a scaly jacket, staring into the camera with wet hair covering one side of her face.

In an interview with DIY magazine, she stated that she wrote the record for girls and wants them to feel "a sense of empowerment". Charli explained in her tour diary with Replay Laserblast that the record's genre is still pop, but has "a very shouty, girl-power, girl- gang, Bow Wow Wow" feel to it at the same time. She also said in an interview with Idolator that the album would be influenced by the Hives, Weezer, the Ramones and 1960s yé-yé music.

Dave Sholin from Gavin Report stated, "On her own this time around, she delivers a mid-tempo gem about being one's own person. The lyrics are positive and hopeful—perfect for summertime." Mike Wass from Idolator wrote, "A relentlessly upbeat self-help anthem with a mantra- like chorus, the track was a much-needed ray of light at the height of grunge, and can still be heard in lifts and doctor’s waiting rooms today." John Kilgo from The Network Forty called it a "superb" track.

PopCrush gave the song 3.5 stars out of five. In her review Jessica Sager wrote, "The song sounds like an adult contemporary answer to The Wanted mixed with Bruno Mars‘ ‘Locked Out of Heaven.’ It has a danceable beat like many of the British bad boys’ tracks, but is stripped down and raw enough to pass for Mars’ latest radio smash as well." Carl Williott of Idolator commended the song's chorus, but criticized its "liberal use of Auto-Tune" and compared Donnie Wahlberg's vocals to Chad Kroeger.

Jocelyn Vena of MTV News described the image as a "glamorous, deconstructed photograph" where Madonna "cocks her head up, her curly hair pulled back. She's wearing lots of mascara, bright red lipstick, a choker and a silky bright pink top. The photo has some kind of broken mirror filter over it, giving it a funky, dance-queen vibe." Robbie Daw of Idolator compared the artwork to the singer's third studio album cover, True Blue (1986), with similarity in Madonna's blond locks and the tilting of her head.

Forbes contributor Hugh McIntyre described it as a noticeable departure from her previous work, adding that it is "sultrier and a little more aggressive". Lucy Bacon of MTV News called it a "girl power anthem". Mike Wass of Idolator praised the song, describing it as "slinky, turn-of-the-millennium R&B;/pop" and tipped it as a cross between Christina Aguilera and Destiny's Child. According to Times Nolan Feeney, the song has NSYNC vibes, and probably could have been a Britney Spears song 15 years ago.

Becky Bain of Idolator called the song "fantastic", stating that "Gimmie That", "has a great beat, isn't filled to the brim with Auto-Tune like most dance tracks circulating today, and makes us want to go clubbing immediately. Ryan Brockington of the New York Post said, "start stretchin', because it looks like the latter part of summer should be full of reason's to give people 'dat.' I guess when is comes to Ciara, there is no time to rest that booty! Or rehab ours.

Varietys Jeremy Helligar deemed it, alongside "God Control", as one of the moments in Madame X where "true weirdness sets in", and "the closest Madonna may ever come to her own 'Bohemian Rhapsody'". Robbie Barnett from the Washington Blade, wrote that it was one of the album's "standout" tracks, as well as "a bold statement of extreme artistic expression". Writing for Idolator, Mike Wass called it "a little heavy-handed, but nonetheless mesmerizing". In a further review, Wass said it was the singer's "most experimental" single.

The video was nominated for an MTV Video Music Award for Best Pop Video, but lost out to "What Makes You Beautiful" by One Direction. In July 2012, "Payphone" was named Song of the Summer for 2012 by Idolator. On the Billboard Hot 100, the song debuted at the number three spot before peaking at number two. The song sold 493,000 copies in its first week, becoming the best sales week for a digital song by a group and also the eleventh-best sales week overall.

Hey, Let's Write a Song Called "Steve Jobs Is Dreamy" 100 And Single, Idolator. Accessed 12 February 2008Farber, Jim. Apple ad creates recognition for Yael Naim, New York Daily News, March 11, 2008. Owing to high U.S. digital sales, the song debuted on the Billboard Hot 100 for the chart week of 16 February 2008, at No. 9, becoming Naim's first U.S. top ten single, and making her the first Israeli solo artist to ever have a top ten hit in the United States.

However, Craig Jenkins of Vulture gave it a lukewarm review, stating that the song "doesn't reinvent pop or Taylor, but it does get her name out on a product built to keep pace with current trends". Mike Wass for Idolator dismissed the song as "not good" and called it "equally underwhelming" as "Look What You Made Me Do". He concluded by saying "If you can get past the cringeworthy lyrics and jarring production, a cute chorus awaits. But that's a lot of work for a minor payoff".

"Animals" received generally positive reviews from critics. Andrew W. Gold of Sputnikmusic complimented the song, saying that it is "the most genuine song Muse have done in years". Ian Cohen of Pitchfork described the song as the moment "where Muse ditch the pyrotechnics for actual piano-tinkling prog and remind you that they're still not that far off from Showbiz, their charming debut of slavish OK Computer worship." Colin Stutz of Idolator labeled the song as the most "straight-forward" song on The 2nd Law.

Robbie Daw of Idolator opined that if the song was a hit perhaps they could "wear bird suits with Miley Cyrus" on her "Can't Be Tamed" clip. MTV News's James Montgomery dubbed the video as a "fantasy ride in which McCoy helps out", calling it a "lighthearted romp". Writing for the same publication, Tamar Aitai criticized the fact that McCoy tries to be like Kevin Spacey by "paying it forward by helping out his fellow bros", referring to Spacey's film Pay It Forward (2000).

On April 23, she posted another preview of the music video on her Instagram.Wass, Mike (April 23, 2015). "Paris Hilton Straddles A Motorbike In Second “High Off My Love” Video Teaser: Watch". Idolator. SpinMedia. Retrieved on April 24, 2015.Stern, Bradley (April 23, 2015). "Paris Hilton Teases A Second Preview Of “High Off My Love” To An Increasingly Unprepared World". MuuMuse. Retrieved on April 24, 2015. On April 29, an extended forty-two-minute snippet of the song leaked onto the internet.Staff (April 30, 2015).

Leah Haywood provided additional background vocals. Gomez's vocals were produced by American production team Dreamlab at Westlake, and the engineering was handled by Rob Ellmore with assistance from Daniela Rivera. In its final stages, "Sober" was mixed by Phil Tan at Ninja Club Studios in Atlanta, Georgia. In a March 2017 interview with Mike Wass of Idolator, Hindlin, a personal friend of Gomez and the song's co-writer, revealed that "Sober" was intended to be the album's fifth single after "Kill Em with Kindness".

Accompanied by a gospel choir, Carey performed "One Child" and "O Come All Ye Faithful" at the Christmas in Washington event at the National Building Museum in Washington, D.C.. The performance aired on December 17, 2010, on TNT. Wearing a "billowy red dress adorned with a bow," it was noted by Idolator that Carey decided not to perform her "modern yuletide staple" "All I Want for Christmas Is You" or the first single from the album "Oh Santa!" in favor of "subdued and graceful tracks".

Beyoncé's version of the song charted for 7 weeks and peaked at number 67 on the US Billboard Hot R&B;/Hip-Hop Songs chart. In 2013, Mike Wass of the website Idolator put "Sexy Lil Thug" at number six on his list of "Beyonce's 10 Best Unreleased And Rare Tracks". He described it as a "radio staple" in 2003, adding that it "remains something of a lost gem" and concluded "Queen Bey spit iconic lyrics like 'I’m that classy mami with the Marilyn Monroe body'".

Mikael Wood from Entertainment Weekly appreciated the cover, and opined that "[Shakira] discovers the beating heart inside that band's subdued electro-goth jam". Becky Bain from Idolator called Shakira's version of "Islands" "sunnier than the original" and regarded it as "brilliantly subdued", complimenting the singer's overall reworking of the original track. In 2011, Stereogum included the cover on their list of "The 10 Best xx Covers". Shakira's cover of "Islands" appeared on the US Billboard Latin Digital Songs chart, peaking at number 39 for one week.

Billboard editor Gil Kaufman said that in the slow and sultry song, Jauregui's vocals rise into an "urgent moan" on the "pleading" chorus, and the track's "smoky, late night" mood is amplified by its "ripping" blues guitar solo. Rolling Stones Brittany Spanos described the record as "slow burning". The song has "atmospheric strings and sensual beat", and builds up to an "electrifying" guitar solo, wrote Idolator. Paris Close of iHeartRadio described it as a "pensive number" in which Jauregui "purrs with hope on the bluesy chorus".

Robbie Daw of Idolator appreciated the plot twist of the video, commenting, "We really expected Nicki to waste that other warrior-in-training hater. The fact that she dies—and does so in such a beautiful way here—kind of makes us love her all the more." Daw also inferred that the fancy attire from the "No More I Love You's" video inspired Minaj's in the "Your Love" video. Nicole Sia of MTV Buzzworthy stated that the video resembles Crouching Tiger, Hidden Dragon in its fight scene.

"Chasing Time" received positive reviews from music critics, with Mike Wass of Idolator commenting that the song included a "soaring chorus". To promote the single, Banks released a music video for "Chasing Time" on November 13, 2014, which was produced by Nina Dluhy-Miller and directed by Marc Klasfeld. Banks also held a contest in which she asked budding producers to submit remixes of "Chasing Time", with the winner receiving $10,000. Pitchfork Media included the track in their list of 'The 100 Best Tracks of 2014'.

Idolator called the track a "soaring pop anthem". On 12 April 2019 "Vincent" debuted in the German charts at number 29 before dropping down to number 77 by the middle of May, by which time the song had been censored or banned by some radio stations on account of the sexual content of its opening lyrics. Consistent with the Streisand effect the song subsequently rose to a peak position of number 9 as the track remained in the German charts for the rest of 2019.

Jason Lipshutz from Billboard praised the song's production and Lorde's vocal delivery. Writer Michelle Pitiris for Vulture chose "Buzzcut Season" as a highlight from Pure Heroine and compared its sound to French electronic duo Air. Idolator editor Mike Wass labelled it "another twinkling postcard from the streets of Auckland" but felt that it failed to "capture the attention" like "400 Lux" or "Tennis Court", two other songs from the album. "Buzzcut Season" spent five weeks on the Australian ARIA Streaming Tracks chart, peaking at number thirty-eight.

"Reaper" was released as the fourth promotional single on 7 January 2016. The song was written by herself and Kanye West for Rihanna, but Sia decided to keep it. "Unstoppable" was released as the fifth and final promotional single on 21 January 2016. Jessie Morris of Complex commented that the song sounds like a "page torn right out of Demi Lovato's Confident book", while editors of other media platforms like Idolator noticed this as well, which raised speculation that the track was intentionally written for Lovato.

The Daily Record named "Skyfall" its "Single of the Week" and gave the song five stars out of five. PopCrush gave the song four-and-a-half stars out of five and called it "wholly satisfying and worth the wait". Idolator wrote that "during the song's final third, Adele does, in fact, make the sky fall, in typical Adele fashion". Consequence of Sound commented that "rousing instrumentation elevates the vocals to soaring heights", while HitFix called the song a "majestic ballad" and a "classic James Bond theme".

Sam Lansky of Idolator complimented the song for being "beautiful" and "timeless". Louise Bruton from The Irish Times wrote that Ellis-Bextor's "icy vocals forgive[d]" the "blunders" of Wanderlust, while musicOMH's Kate Bennett provided a polarized review for the song. Although she praised Ellis-Bextor's vocals, Bennett described the track as "heroine-gazing-forlornly-into-the-distance" due to its instrumentation. David Farrell, writing on behalf of PopMatters, commented that "Young Blood" was the best of the album and highlighted Ellis- Bextor's vocal performance.

The official music video of "Young Blood" was filmed by Sophie Muller, and released on 25 November 2013. It mostly depicts Ellis-Bextor, dressed in a striped dress, lip-synching the song's lyrics, walking through an abandoned pier "in terrible weather". Those scenes are interspersed with clips of her sat on a red sofa, wearing a "buttoned up, Victorian-styled lace dress" inside a lounge room. Writing for Idolator, Mike Wass characterised the visual as "simple", noting that it is adequate for the song's tone.

Currinn of CelebMix likened the music video's message to that of Inna's track "No Help" (2018), while Idolator saw it as "striking" and "minimalist". For further promotion of "Ra", Inna delivered a live performance of the song at the 2018 Telehit Awards in Mexico City on 7 November, and performed it on Mexican television daily morning program Hoy on 8 November 2018, among other endeavours in Mexico. On 2 December 2018, Romanian band Noaptea Târziu released a parody of "Ra" titled "Am ghinion" ("I have bad luck").

The final track, "Your Body", was noted by critics for Moroder's Italian introduction; Moroder stated that Minogue asked him if he "could do a little talk in Italian on her music. She wanted it really sexy, like a Latin lover – heavy breathing." Christina Lee from Idolator, who reviewed a live performance of the song, said it was "just as the electronic music trailblazer described: sexy, seductive and more ambient". Zoe Camp from Pitchfork Media compared the track's sound to the work of Swedish musician Robyn.

Seventeen gave a positive review of both the song and the video, calling "C'Mon" a "perfect dance jam with a catchy chorus." Carl Williot of Idolator gave a mixed review of the track, calling the song "fun but familiar." The Huffington Post praised the song, calling the chorus "awesome," and stating it could be Kesha's "latest destined-for-smash-y song." Billboard gave a positive review of the song, comparing it to Robyn's "Call Your Girlfriend", as well as Kesha's previous hit "Your Love Is My Drug".

Comparing to Tinashe's previous single "No Drama" featuring Offset, which was also produced by Stargate, Eddie Fu of Consequence of Sound noted the song of being "more of a duet than a typical singer and rapper collaboration". Chris DeVille of Stereogum wrote: "The song benefits from some compelling electronics-infused production from Stargate and a contagious twilight mood." Mike Wass of Idolator regarded the song as "a return to the slinky hip-hop/pop fusion of Aquarius", which follows the trend started with "No Drama".

"First Time" received generally positive reviews from critics. Muu Muse lauded the song, calling it an "infinitely lush and understated production" and "really beautiful". Sam Lansky of Idolator compared the "swoony and sincere" song to tracks by Coldplay and Kings of Leon, praising its "fizzy production" and "big, gorgeous, lighters-up chorus". Lansky went on to call it the band's best song and compared the "summer beach-party winding-down anthem" to the work of Mae and Death Cab for Cutie "at their poppiest".

"Young Girls" made its debut during a performance on Saturday Night Live on October 2012. On December 4, 2012 Mars recorded performance on the Victoria's Secret Fashion Show, aired on CBS. Sam Lansky of Idolator said the performance during the Victoria's Secret Fashion Show was "impressive", despite the singer not being "runway-friendly as RiRi". On December 7, 2012, Mars and his band sung the record on, the German show, "Sat 1 Frühstücksfernsehen" and on December 31, 2012 at the New Year Alan Carr's Specstacular.

"Burnin' Up" has received very positive reviews from music critics, most of whom commended and praised Jessie J's vocal performance. Idolator gave the song a positive review saying "Like 'Bang Bang', it’s all about those diva-sized pipes (and some major heavy breathing!), as Jessie struts through the fire and loses her mind. 2 Chainz comes in later for his own spitfire contribution", adding that "the song’s a catchy burst of energy for sure, and who knows? Perhaps even American radio will be set ablaze".

"Can I Get a Moment?" is an up-tempo funk and soul song with a duration of three minutes and twenty-five seconds. Its instrumentation consists of a percussion, horns, "chunky beats" and handclaps. Naomi Janes of Renowned for Sound noted that "Can I Get a Moment?" features "'Blurred Lines' style backing vocals" and compared Mauboy's vocals to Christina Aguilera. Mike Wass of Idolator wrote that the song "sounds like a winning mix of B'Day-era Beyoncé and Jessie J's 'Bang Bang'", while Kathy McCabe of News.com.

" At Newsday, Glenn Gamboa evoked that "Cher doesn't just survive here, she thrives." Kevin Catchpole of PopMatters affirmed that "Cher has provided a welcome return to the music world with Closer to the Truth." John Hamilton of Idolator felt that the album "turns out to be one of Cher's most engaging albums, a strong collection of pop tunes the world would be wise to pick up." Gay Times felt that it was "a fantastic, if long-overdue, return from one of the greatest singers of our time.

Chris Parton from Sounds Like Nashville said "it features the sonic swell of an epic romance in the making, anchored by crisp beats and soft-touch guitar riffs. Equally plush are the two artists' vocal back-and- forth, with each asking the other to drop the 'cool' exterior they show the world". Mike Wass from Idolator described it as "a love song about being accepted for who you really are, 'Cool Anymore' is destined to strike a chord with couples from Nashville to New York".

The music video for "Not a Little Bit" was well received by critics. Rap-Up expressed their interest of the video, writing: "The star of VH1’s K. Michelle: My Life walks through the city with a cloud over her head, representing the drama in her life. At home, she confronts her man after discovering his cheating text messages.". Christina Lee from Idolator showed her admiration of the plot of the music video and described the video as "effective" just like the song itself.

BroadwayWorld TV News Desk described "Younger" as an electropop summer hit which shows the intense feeling of being young and free during the summer time, when the weight of all responsibility is less important. The duo wanted to evoke the theme of passing time and recklessness and this is confirmed by Hrvy's vocals : "Let’s stay younger together". According to Mike Nied from Idolator, they wanted to celebrate the rush of young love. He noticed that they have "a serious late- summer smash on their hands".

Upon its release, "Lola" garnered acclaim from critics and fans alike. Mike Nied of Idolator praised the song and expressed his expectations of the song having potential to be a "'Fancy'-sized hit". Perez Hilton gave the song a positive review on his blog, commenting that it is "a major bop" and "really genuinely great", comparing it to the works of Carlos Santana. Drushti Sawant of Republic praised the pairing of the signers as "an iconic duo" and commented that the song was a "great, upbeat tune".

Internationally, "Your Body" was a moderate success, peaking within the top 40 of most countries. The song's accompanying music video was directed by Melina Matsoukas; it portrays Aguilera as a killer dressed in pink, one who delights in wooing physically fit men to their demise. Sam Lansky from Idolator provided a favorable review of the clip and described it as one of Aguilera's best videos. The second and final single from Lotus, the duet "Just a Fool" with Blake Shelton, was released on December 4, 2012.

"Ain't Been Done", "Keep Us Together", "Sweet Talker" and "You Don't Really Know Me" were all performed live at Rock in Rio Lisbon on 1 June 2014. "Bang Bang" was performed live on the Elvis Duran and the Morning Show on 31 July 2014. Moreover, the song was performed as part of the opening medley held by Jessie, Ariana Grande and Nicki Minaj during the MTV VMAs 2014. In August, Jessie teased a snippet of 2 Chainz's verse on "Burnin' Up" in an interview with Idolator.

Mike Wass of Idolator attributed the track's "surprising" success to Goulding's post and pointed out that it was "an incredible feat for a gloomy, alt-EDM remix that has been floating around online for the last six months". "Stay High" eventually debuted at number 59 on the UK Singles Chart for the issue dated 16 March 2014. In its sixth week on the chart, it peaked at number six. It was certified Platinum by the British Phonographic Industry (BPI), which denotes 600,000 units sold in the country.

"More Than That" is one of two songs Jauregui performed at MTV's Plus 1 The Vote Election Party in November 2018. On January 8, 2019, Jauregui announced that "More Than That" would be released on January 11, 2019. The following day, Jauregui released the single's cover art, inspired by the renaissance painting The Birth of Venus. Billboard described the cover as "sexy, Renaissance-era-inspired artwork"; Idolator called it a "glorious" and "literal work of art"; and MTV deemed it a "Louvre-worthy cover art".

O'Mance acknowledged its explicit imagery, describing it as "a lady lightly fingering a man's pubic hair with one hand, and his cock and balls with another". HipHollywood's Eric Berry wrote that some might find the artwork "questionable", later asking, "Artistic or sleazy?" Sam Lansky of Idolator called the artwork "typically provocative," adding, "Par for the course for the sultriest chick in the game". Other critics predicted that with the imagery, the single's accompanying music video would serve as an extension of the singer's video for "Body Party".

It's an immersive piece of modern pop music that feels like something between drowning and floating, or maybe like a little of both." Rachel Sonis of Idolator called the song a "wistful anthem". Noiseys Phil Witmer stated "Mendler's voice is run through tube distortion, chopped up into pinpricks, and becomes a gorgeously vocoded choir on the cavernous hook. It's something like Imogen Heap meeting early Purity Ring, and the guest verse from Florida underground rapper Kaiydo makes 'Atlantis' a masterwork in craft and atmosphere.

Helen Brown from The Daily Telegraph classified "Walking on Air" as a "forgettable bit of Nineties rave nostalgia", while James Reed from The Boston Globe deemed it "buoyant", and ABC News music writer Mesfin Fekadu called it "irresistible". Kyle Anderson from Entertainment Weekly described the track as a "David Guetta-esque blast of dancefloor adrenaline". Sam Lansky from website Idolator wrote that the song was "pleasurable", while Trent Wolbe from The Verge said it was a "triumphant ode" to various artists from the 1990s.

The song has received mixed reviews from music critics. Keith Caulfied of Billboard deemed it as a "very dance-by-the-numbers with Madonna" song, and further assessed that the chorus made "Girl Gone Wild" a memorable song. Robbie Daw from Idolator said that "Madge [is] doing what she does best: turning up the heat on the dance floor," but that "the song is packed with tried-but-true sexual pop cliches." Jon Dolan of Rolling Stone rated it three out of five stars.

Furler recorded a demo version of the song but it has never been officially released. The track listing for the soundtrack was released on August 4, 2016; Mike Wass of Idolator noted that "Telepathy" could possibly be a disco track given that Rodgers is credited as a featured artist and the disco theme of the series. "Telepathy" premiered on August 11, the day before the release of the soundtrack and TV series. The song was released in Italy to contemporary hit radio on August 23.

" Mike Wass from Idolator called the show "flashy yet strikingly intimate", stating "there was no choreography and only one costume change, but you don't need shiny distractions when you can belt out songs like Demi and connect with the crowd on such an emotional level. That's not to say that the production was boring. Far from it." Maychelle Ornos from International Business Times called the tour "epic" and "something to look forward to because Demi has taken all the steps to please and wow her fans.

The song was uploaded online on the same day, and was met with acclaim from fans. Mike Wass of music blog Idolator compared the song to various B-sides from Australian singer Kylie Minogue, calling it, "an absolute gem," and claiming, "Armour is probably the best thing the 28-year-old has released since 2012 chart-topper What You’ve Done To Me." Due to the song's positive reception online, "Armour" was later released as a stand-alone promotional single to digital retailers and streaming services one month later on 14 August 2015.

" Becky Bain of Idolator praised the track, stating that "Britney goes genuine for this ode to her unborn baby." Kurt Kirton of About.com said that "And Then We Kiss" and other remixes of songs like "Toxic" and "Someday (I Will Understand)" on the remix album B in the Mix: The Remixes "hold their own". IGN writer Spence D. noted the Hi-Bias Signature Radio Remix "reverberates with all the clichés that often stifle the music that rustles through the late night/early morning club scenes around the world.

He also mixed the song. Audio engineering was handled by Bhasker and Pawel Sek, while mastering was done by Chris Athens at the Chris Athens Masters, located in Austin, Texas. "Trouble" was first unveiled online on the same day of the release of its eponymous parent album, on the website Idolator. The release of an official third single for the album was made with the announcement of a fan contest, in which fans were asked to design or draw "interpretations" of the singer, however no winners were announced as of April 2014.

Charles Holmes of MTV News praised PartyNextDoor for "employing his addictive melodies and songwriting skills". Rap-Up felt that the collaboration "allows PND to pull from his Jamaican roots, while Calvin delivers some house influences". Scott T. Sterling of CBS Radio called it "a percolating club track that combines Caribbean-by-way-of-Toronto island vibes with classic U.K. dubstep aesthetics", while Mike Nied of Idolator regarded it as "a buoyant club cut with massive potential", writing that "it boasts a new sonic direction and provides a much-needed update on trop-pop's overplayed productions".

Later, the video sees Lopez wearing a variety of outfits before encountering British model David Gandy. The music video was received with positive response from most critics. Mike Wass of Idolator called it her "sexiest visual since 2011's breathtaking 'I'm Into You', also noting that "it's a fairly simple set-up but, in director Anthony Mandler's capable hands, it turns out to be an absolute feast for the eyes. The black-and-white photography is gorgeous, J.Lo has never looked better and her co-star isn't exactly hard on the eyes either.

" Ben Ratliff of The New York Times wrote that "Pretty Girl Rock" was one of the tracks on the album that was "good enough to stop the overthinking comparisons" with Rihanna. He described it as "four minutes of schoolyard singsong about [Keri's] fabulousness." Becky Bain of Idolator called it a "saucy R&B; number" and wrote that "the song's not too bad". Chad Grischow of IGN Music wrote that, "there are plenty of reasons to despise 'Pretty Girl Rock', but the twinkling girl-power jam is too charming and catchy to stay mad.

Madeline Roth, writing for MTV, called the single a "clever, confident response to cancel culture". Allison Stubblebine of Nylon wrote the song "addresses all the negativity that has been thrown [JoJo's] way regarding her career". Mike Wass, writing for Idolator referred to the song as a "hard-hitting track" and a "tantalizing first glimpse of the 'When Love Hurts' hitmaker’s new era". Clare Palo of Vulture referred to the lyrics as "so raw that it seemed almost necessary to start out with a brutally honest take for her never 'Too Little, Too Late' comeback".

"Not 20 Anymore" is a "jazzy, slow-burn" ballad about body acceptance and self love. Mike Wass, writing for Idolator, wrote that the song "takes a powerful stance against ageism". During the hook, Rexha sings "No, I'm not 20 anymore (20 anymore)/ Don't try to make me feel insecure/ 'Cause I’m aging like wine I get better with time, yes, I do (Yes, I do)". It was written by Rexha, Jordan K. Johnson, Michael Pollack, Oliver Peterhof and Stefan Johnson, and produced by German and the Monsters and the Strangerz.

On June 8, 2010, Aguilera performed "Bionic" as the introduction to "Not Myself Tonight" on The Today Show, along with "Beautiful", "Fighter" and "You Lost Me". Selected as the opener of the show, she performed in her "hinestone tights" and "red hot pants". Following the highly criticized performance at the 2010 MTV Movie Awards, Aguilera's performance at The Today Show was well received by most critics. James Dinh for MTV News named it "aggressive", while Erika Brooks Adickman for Idolator called the performance a "hot-mess show wardrobe".

Keys premiered the track at the iTunes Festival with a live performance on September 28, 2012, along with another new track from the album entitled "Not Even the King". A writer from the website Idolator commented that it was the best part of her set at the festival. On October 16, she performed the song during the 'City Advantage Love the Journey Concert' at Lincoln Center's Avery Fisher Hall in New York City. Georgette Cline of AOL reported that her performance of "Brand New Me" earned her a standing ovation from the crowd.

"Why So Lonely" received positive reviews from music critics. Mike Wass, writing for Idolator, said the single's reggae sound was a "major sound overhaul" and worked to "surprisingly great effect". He also said the song "shouldn't work at all, but it's actually one of the group's catchiest efforts to date". Jeff Benjamin of Fuse noted the song's 1970s-inspired rock band concept and reggae-rock sound, and said "the surging guitar riffs mixed with Wailers- and Sublime-like ska beats give the track a classic-rock vibe that the ladies successfully pull off".

Mike Wass of Idolator thought that "You Don't Know What to Do" would have been worthy of being recorded by American disco singer Donna Summer. Jordan Sargent of Pitchfork Media praised its composition and noted that the disco and gospel genres are where middle-aged woman can "thrive", whereby Carey "fits in unsurprisingly well". He was, however, critical of the decision to include Wale on the song. Similarly, Aisha Harris of Slate Magazine praised the song's production and Carey's vocals too, but also thought that Wale's rap verses were not required.

" Sarah Godfrey of The Washington Post commented that the song "is about hackneyed metaphors and big notes — just the sort of combination that will appeal to fans of Aguilera's signature song 'Beautiful. Idolator critic Mike Wass complimented Aguilera's ability to "tone it down" on the song, but he was surprised at the level of simplicity considering Furler's "alternative leanings". He did, however, describe it as the album's most straightforward ballad and as a song which could have been written in 1972, with its "with its yearning lyrics and sparse production".

Caila Ball from Idolator wrote, "Clumsy cross-promotions and hyperbole aside, it was a night of stellar performances, kicked off by Coaches Christina and Blake making the world debut of 'Just a Fool'". She continued to praise the performance, commenting, "It was a refreshingly stripped down performance from Legendtina – who uncharacteristically took the stage in jeans. Blake, on the other hand, looked a little awkward up there without a guitar and a stool". On December 7, 2012, Aguilera and Shelton performed "Just a Fool" again on The Ellen DeGeneres Show.

The song received mostly positive reviews from critics upon its release. Hollywood Life correspondent Tierney McAfee labelled "Heart by Heart" the best love song of the summer "by far", citing the dynamic production and Demi's emotive vocals, which McAfee described as "pack[ing] a big emotional punch". The Huffington Post called the song "hauntingly beautiful" and praised the "powerful" piano-based instrumentation. Sam Lansky of Idolator lauded Lovato's "absolutely monster vocals" on the "soaring power ballad" and felt the song was anthemic, drawing comparisons to other Warren songs.

At the end of 2012, Kaleidoscope Dream appeared on several critics' lists of the year's best records. Ann Powers named it the best album of 2012. It was also ranked number 26 by Robert Christgau, number eleven by The Guardian, number 10 by the Chicago Tribune, number eight by Slate, number six by the Los Angeles Times, number five by AllMusic, Okayplayer, and Spin, number four by Entertainment Weekly, number three by Billboard, New York, and Now, and number one by Idolator. Metacritic named it the 12th best-reviewed album of 2012.

"Wet" is an uptempo track, containing a thumping disco beat, a throbbing bass, and electronic beats. The song was written by Ester Dean and Traci Hale, and co-written and produced by Norwegian duo StarGate and Sandy Vee. Scherzinger is said to confesses that her body is "aching for a man's touch", stating "This beat is filthy dirty/ I feel it all over me". Described as a "dance-ready club banger" by Idolator, the song chronicles "many sexy ways" Scherzinger gets wet; sweating, a shower, a swim, and drowning.

Critics generally favored the song's accompanying music video, in particular Scherzinger's intricate choreography. On the day the video premiered, a reviewer from Rap-Up wrote "It’s getting hot in here," referencing Scherzinger's "smokin’ body" and "steamy visuals". Staff of Idolator spoke favorably of Scherzinger's choreography, stating that it "would make the other Pussycat Dolls blush". Amy Sciarretto of PopCrush gave the video a positive review stating that she was impressed of Scherzinger's athletic and acrobatic methods of dancing. She continued, "she doesn’t even have to try and be sexy; she just is".

" Carl Williot from Idolator said that Catch was "everything that's wonderful about under-the-radar pop music right now: immaculate hooks, pristine synth work, vocal versatility, bold atmospherics and a beating, bursting heart," and named it "the best song of 2014." Buzzfeed's Matthew Perpetua described Prime as a "colorful, stylish synth pop song" that is "arguably even better than Catch." Melissa Locker of TIME called the song "an injection of sparkly synth-pop that's so catchy. it [sic] reminds you of why pop songs are called infectious in the first place.

In January 2008, it was named the album of the year in both the 2007 Village Voice Pazz & Jop and Idolator Pop '07 polls. Time magazine named "All My Friends" one of The 10 Best Songs of 2007, ranking it at #4. The album placed fifth in The Wires annual critics' poll. In 2009, Pitchfork named the track "All My Friends" as the second best song of the decade, while a month later Sound of Silver was ranked at number 17 in the website's list of the best albums of the 2000s.

In a mixed review for Idolator, Rachel Sonis "24K Magic" a 6.5 out of 10. She described the track as "glossy, lavish and teeming with old-school The Neptunes vibes", but concluded that the single does not accomplish anything new. Robbie Daw of the site rated the track 5 out of 10 saying that it is a throwback to the 80's R&B; as a continuation of "Uptown Funk". He too thought it did not add anything new to pop music—"it simply keeps the party going".

The women then march down Auburn Avenue before they head home to throw their men's clothes off the balcony. The video received mixed to positive reviews. Chris Ryan of MTV Buzzworthy was positive and called it a "beautifully shot portrait of a woman on the edge of a nervous breakdown", and The Fader writer Julianne Escobedo Shepherd regarded it as an accurate representation of how women act when they are "wronged by dudes". On the other hand, Robbie Daw of Idolator deemed it tiresome, calling it a "visual snoozefest".

Billboard praised the song for its retro themes and shifting of member roles saying "But what is new, musically, is the division of lines -- namely when Yuri, a member who typically only chimes in with a line or two, gets to handle a majority of the second chorus. It's a decision that further shows how Girls' Generation is embracing change in their eighth year..." The song was deemed the 7th best K-pop single of 2015 by PopMatters. Meanwhile, Idolator chose it as the 24th best K-pop song of the year.

", "Put the Needle on It" and "I Begin to Wonder" and stated that "if Dannii cannot win and hold a position of new popularity with this album [...], she may never get another chance." Ron Slomowicz of About.com felt that Neon Nights is "good pop music," though "generic in some songs" with some "obvious filler." In a retrospective for the album's 10th anniversary, Mike Wass of Idolator wrote that "it’s one thing to create an excellent three-and-a-half-minute dance-pop song, but another to sustain the appeal over an entire album.

Robbie Daw of Idolator noted that Brown "makes things real sexy" in the video, but was unsure if "we should be turned on or utterly creeped out". Jessica Sager of PopCrush noted that Brown "channels his R&B; side" and added that he is "a bit of a clumsy romantic". Jessica Sinclair of the Long Island Press described the video as a "juicy new entertainment" for Brown's fans in anticipation of his new album. Jazmine Gray of Vibe magazine described the video as "hot, heavy and really wet".

Johnston continued writing that the music video for the song "would be almost pornographically unnecessary". Robbie Daw of Idolator wrote that the ballad ticks all the boxes for its "synthy melody, decent beat" and Brown's "vocal harmonies", but felt that it is not "the most innovative offering" from Brown. Melinda Newman of HitFix wrote that in "Sweet Love", it appears "there are two songs at war here as the synth drum beat totally overwhelms and clashes with the ballad". She criticized the song for being "memorable for all the wrong reasons".

Gaga's look for the cover artwork was compared to that of singer alt=Alice Glass pictured from below, singing into a microphone while crouching down. In May 2016, Idolator reported that Gaga had been in recording studio with Ronson, along with BloodPop and Parker. Ronson later uploaded an image of the group working together on his Instagram account, captioning it as "illusion". Following her appearance at iHeartMedia, Gaga revealed the name of the single by uploading a series of 12 images on her Instagram account, creating a mosaic which spelt out the song's name.

" Though she questioned why "there's no room in the video for anything other than Brandy's legs", she declared it as "sexy without ever crossing a line." Sam Lansky of Idolator remarked that Norwood was "keeping it simple in the video," and complimented "how effectively Brandy works out that choreography: Wearing high-waisted shorts and looking like she's about 80% legs, Brandy shows she can still pop with the best of 'em. It's clean and elegant. Even with crazy competition, Brandy still does R&B; better than the rest.

Courage received generally positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album has an average score of 68 based on 9 reviews, indicating "generally favorable reviews". Mike Wass from Idolator rated Courage 4.5 out of 5 stars, describing it as Dion's most eclectic album, which is truly remarkable at this stage in her career. He felt that while the production of songs is inventive, the subject matter couldn't be more traditional, as Dion examines matters of the heart.

A Rap-Up reviewer and Byron Flistch of MTV praised the looks of both singers in the video. Flistch also commented, "not that we promote arson or anything, but we're just super happy Brandy and Monica are getting along – clearly, no man is worth holding on to a years-old grudge." According to Fashion Bomb Daily, Brandy was styled in a Versace Barocco Printed Silk- Twill Shirt that costed $1,275. Robbie Daw of Idolator also said that Monica and Brandy looked "stunning", but added that the plotline of the video could have been more creative.

Jamieson Cox of Time, Chris Molanphy of Slate and Stuart Berman of Pitchfork found the song heavily influenced by 1980s funk. Neil McCormick writing for The Telegraph called it an "evocation of the kind of Eighties funk that was already ripe with nostalgia". Robbie Daw of Idolator found the single closer to the "70's groove", filling "the hearts of Stax- and James Brown music fans". Likewise, Rap-Up dubbed it a "70's jam", a mash-up of "the best of Morris Day & The Time, James Brown, and The Jackson 5".

Metro Weeklys Sean Maunier felt that Madonna found "some redemption" on the song. Daniel Megarry from Gay Times opined that while the track "isn't top tier" with other Madonna songs such as "Live To Tell" (1986) and "Take a Bow" (1994), "it's still a pleasant listen", and praised its lyrical message. Mike Wass from Idolator thought the song was "well-intentioned, but it didn't need a children's choir to bludgeon the point home". According to NMEs El Hunt, the song's Sartre quote "can border on inspirational fridge magnet territory, too broad to establish real connection".

Another positive review came from Gay Timess Daniel Megarry, who said he had "grown to love it", and commented that its "reggae-tinged beats and optimistic lyrics" would help sell the track. Michael Arceneaux of NBC News considered Quavo's appearance as "surprising". Alfred Soto from City Pages wrote that the track "unfurls as listeners might expect", and selected it as one of the "OK to pretty good songs" on Madame X. Mike Wass from Idolator felt it was a deviation from Madonna's usual dance pop. Nonetheless, he praised its "important message".

No!." During the second verse, she "asserts that she's through with acting as the world's avatar," asking: "Darling, would you mind giving my reflection a break from the pain it's feeling now?." During the second verse Rihanna sings rebelliously, "Let me cover your shit in glitter, I can make it gold." Nolan Feeney of Time opined that in the song "Rihanna seems determined to explain what took her so long." Bianca Gracie of Idolator went further, analyzing that it features "lyrical nods to her 2014 transition from Def Jam to Roc Nation.

" Bianca Gracie of Idolator praised "the floral vocal addition from SZA," which she explains, "elevates the track to edgier heights." Emily MacKay of NME claimed the song's message is clear: "she's excelled at being a pro, but now is her time to be an Anti." Jordan Bassett of the same publication commended the song for being "such a strong start," highlighting "the pounding percussion and Rihanna's confident flow for arrest[ing] your attention. It's languid but assured, and that's before neo-soul singer Sza's otherworldly, Kate Bush-style vocals bob and weave around the beat.

But two years after the fact, Bionics moments of greatness remain about as good as it gets." In similar vein, Mike Wass of Idolator wrote in November 2012 that "the album holds up better than expected, and is actually an intriguing — if somewhat disjointed and often meandering — collection of songs. Christina's assertion that she was ahead of the curve is inarguably correct." Wass acknowledged that Aguilera "was the first mainstream artist to call on Australian singer- songwriter Sia, who has since been courted by everyone from Adam Lambert to Rihanna.

"Timebomb" received mostly positive reviews from music critics. Bradley Stern of Idolator described it as a "massive smash" with a "truly massive production" and added that "This song truly is the best thing ever." Similarly, Scandipop wrote that "Timebomb" was the best thing that Tove Lo has "ever done" and praised its composition. Both Ilana Kaplan from Refinery29 and the staff of Capital FM described it as an "anthemic" recording, while Sam Lansky from Time called the song a "madcap stampede" while pointing out "talky lyrics and a chorus that explodes like a confetti cannon".

" IZMs Do-heon Kim favoured the aggressive guitar riff in the production, likening it to that of '90s South Korean music group Seo Taiji and Boys. Mike Nied of Idolator deemed the song "one of the hardest hitting on an album of iridescent pop hits." Reviewing for Vulture, Kim Youngdae and Park T.K. wrote, "The beat is distinctive, making every part of this song instantly recognizable." In The New York Times, Jon Caramanica shared a similar view, favouring the sound of the song and labelling it as "a fantastically squelchy beat.

Shaheem Reid of MTV News praised Wayne's vocals as a repeat of his melodic success on "Lollipop". YoRapper.com also appreciated Wayne's effort, saying "aside from sounding like he's dying, he delivers an entertaining verse." Stuff liked the way that his presence offered relief from the ballads on Here I Stand. About.com's Mark Nero lauded the song as being "much better than the original version", noting Beyoncé's appearance as "regal", while Idolator also praised the collaboration with Beyoncé and Wayne as "much better" than that with Young Jeezy, who recorded on the original track.

Christina Aguilera (pictured in 2010) was featured on "Castle Walls" "Castle Walls" received mixed reviews from music critics. Becky Bain from Idolator called "Castle Walls" a "bright spot" for both T.I. and Aguilera "after the not-so-great years both artists have had." Steve Jones, an editor from USA Today, praised Aguilera's appearance on the track and picked it as one of the highlights on No Mercy. Likewise, Slava Kupersein of HipHopDX and The Boston Globe's Ken Capobianco labelled "Castle Walls" a standout from No Mercy and applauded Aguilera's vocals.

In the eye-popping, Hype Williams-directed visual for her latest single, the R&B; songstress sashays in front of Lambos and splashy backdrops." Similarly, Billy Johnson Jr. of Yahoo! Music commented, "Brandy is looking good and appears to have found her comfort zone when dancing in the "Put It Down" video [...] I was hoping the video would make me like [the song] more, but unfortunately it doesn't, despite the bright colors, Bran's couture looks, and sex appeal." Becky Bain of Idolator, called it "pretty tight, and Brandy looks pretty great.

Corey Moss of MTV News felt that their performance was one of the more memorable of the night. Emily Tan from the website Idolator noted that the performance was one of the band's best further writing, "No one expected the girls to get as down and dirty as they did ... But it looked like no one was complaining." Steve Baltin writing for Rolling Stone remarked that the group provided "some sizzle". The trio gave a live rendition of "Cater 2 U" again at NBC's The Today Show show on July 29, 2005.

"Make Me Like You" was generally praised by music critics, with a Billboard staff member noting the song's "creamy, upbeat pop". Idolators Robbie Daw praised Stefani for "str[iking] Spring Pop Anthem gold", which he called "the perfect example of the type of pop we've been barely-patiently waiting for Gwen to churn out". Bianca Gracie and Mike Wass of Idolator also liked the song, with Gracie calling its melody "wildly infectious" and praising its "pure, vibrant and cheeky pop". Wass called it a "breezy anthem" and "a worthy addition to Gwen's discography".

Cole appeared on The Graham Norton Show on 20 June, and also performed the song as part of her set at Capital FM's Summertime Ball the following day, 21 June 2014. As part of the iTunes pre-order, Cheryl allowed a download of the title track, "Only Human", for those who pre-ordered the album. Bradley Stern of Idolator called the track an "impressive ballad" and also called the track "one of her best offerings from her back catalog". Cheryl also performed on the live results show during the eleventh series of The X Factor.

Upon its release, music critics gave "Glad He's Gone" positive reviews. Mike Wass of Idolator said the song "sounds like a typically feisty slice of electro-pop with a killer chorus" and "more accessible and radio-friendly" than the Lady Wood era. He called the song a "feisty bop" and "the musical equivalent of a pep-talk". Billboard's Kirsten Spruch opined that "it's smart and full of wisdom but does not compromise the tongue-in-cheek lyricism that makes Tove so lovable", calling it an "infectious, summer-ready track".

Lake Schatz of Consequence of Sound regarded "Animal" as "a balanced mix of sweet, saccharine, and everything in between". MTV News' Alex Beach opined that the song showcases "Sivan's range of abilities, and genuine, honest emotion in songwriting", calling it "a powerful, emotional confession of how intense his love is for his boyfriend". Tom Breihan of Stereogum wrote: "'Animal' rides some tremendous synth swells while still sounding intimate and scaled-down, and Sivan delivers its majestic chorus with arena-sized panache." Mike Nied of Idolator noted "a striking beauty to the lyrics".

The performance aired as part of the show's annual summer concert series. The song was featured in the encore of Gomez's Stars Dance Tour, which launched in Vancouver on August 14, 2013. She continued the choreographed routine for performances of the track during the tour, with Idolator writing "She tapped into the song’s middle eastern flavor with the choreography and reminded everyone why it was one of the best songs of the summer." "Come & Get It" was once more performed on November 28 during the Dallas Cowboys Thanksgiving Halftime Show.

"Chunky" has received mixed reviews from music critics. Carl Lamarre writing for HipHopDX said the track "screams hit-record", and Annie Zaleski from The A.V. Club dubbed the song as the "standout" of the album. Christina Lee of Idolator praised "Chunky" saying it is "fit for line-dancing at Snoop Dogg's backyard cookout." However, Jonathan Wroble at Slant Magazine criticized the song for being a "copycat" of Michael Jackson's "Baby Be Mine" (1982), while The Independent's Andy Gill said "Chunky" was missing the "roguish and cheeky charm" of "Baby Got Back" (1992) by Sir Mixalot.

PopMatters writer Andrew Dorsett also mentioned that the line referenced the "imagery of a weekend more euphoric than pills is a little familiar" but notes that Lorde looks "ahead" in the chorus line, "What will we do when we're sober?". Mike Neid from Idolator stated that the lyrics detail how "she drunkenly loses herself in a partner's temporary embrace at a party". O'Neill described "Sober" as the part "where things get a bit intense and your heart starts hurting a bit and you start making out with your ex".

Mike Wass of Idolator labelled it a "dreamy anthem". Complimenting Swift's vulnerability and honesty, Sputnikmusic praised "The Lakes" as "an ideal product of its time", naming it one of the best songs Swift has ever written, and asserted it as the perfect closing track to Folklore. Gary Dinges of USA Today deemed the song a "serenade", mimicking a bittersweet version of Swift's 2017 song "Call It What You Want". Also comparing to "Call It What You Want", Emily Tannenbaum of Glamour defined the song as a melancholic love letter, and highlighted its macabre.

Digital Spy editor Lewis Corner opined that the song was "very good" and commented that "the Peckham star is back doing what she does best, albeit slightly more polished around the edges". He finally wrote that "the result is more than enough to keep our obsession rolling through yet another summer stretch". Sam Lansky from Idolator believed that the song had potential to become a "club hit" and named it the "biggest thing she’s recorded to date", while like other critics, highlighting Katy's vocals. Commercially, "What Love Is Made Of" fared well on European charts.

"Chasing Time" received generally positive reviews from critics. Rolling Stones Jon Dolan gave the song three-and-a-half stars, commenting that Banks was "delivering a splashy anthem of resilience and determination in the face of romantic collapse". Mike Wass from Idolator concluded that Banks "genuinely shines in the soaring chorus", while observing the difference in style she displayed on the song compared to her earlier singles. While reviewing the music video of the single, Melissa Locker from Time commented that "Chasing Time" was "one of the more noteworthy songs" from Broke with Expensive Taste.

In an interview with Idolator on October 14, while discussing the concept for the music video Scherzinger stated there was possibility that "Run" would have two videos one for the United Kingdom which she described as a "one-take live video" and one for the United States. With regards to the US version she stated that, "it’s pretty much going to be a one-take video that’s very simple and stripped back." On November 6, 2014 gave an interview with E! News and delivered a sneak peek of the video.

Rolling Stone called Del Rey's cover "doleful." Carl Williot, of Idolator, dubbed Del Rey's cover "beautifully languorous and dreary (though [it] is replete with her go-to swell of strings and grainy programmed beats)." Jenna Hally Rubenstein, writing for MTV, called the commercial and vocals "moody, totally broody," playfully adding, "What would a Lana Del Rey campaign be if it didn't make you feel a tad depressed?" In the video, Rubenstein said Del Rey was a "ridiculous beauty" sporting a Brigitte Bardot–inspired look, which she added, not every singer can pull off.

Consisting of 10 songs and two additional tracks featured exclusively on its Japanese issue, Caution is an R&B;, hip hop and pop album that incorporates elements of EDM, psychedelia and Latin pop. Jumi Akinfenwa from Clash Magazine views the album as a "homage to the sounds prevalent at different stages of her [Mariah's] career". Mike Wass from Idolator hailed it as being "the new blueprint for legacy acts" such as Carey. Writing for NOW Magazine, Kevin Hegge remarked that "despite the variety of styles, the most notable element of the album was its succinctness".

Upon the release, I Don't Wanna Grow Up was reviewed by ArtistDirect, with Rick Florino describing the EP as "unabashedly fun yet starkly emotional" with everything being a "delicate balance of hypnotic honesty and heartfelt hookiness, separating her from the pack". With respect to the song "Pray", her vocal range is portrayed as "downright impressive as she hits expansive runs and high notes, carrying these sorts of cleverly confessional lines". Robbie Daw of Idolator stated that the song "Pray" "displays perhaps a more emotional side of Bebe than we’ve heard in her past single releases".

All things considered, it sounds like the pop princess has another hit on her hands."Nied, Mike. "Banger! Ariana Grande & Nicki Minaj Bring The Heat On “The Light Is Coming”", Idolator, June 23, 2018 In the album review, however, Neid called it "a particularly glaring misstep." Spin editor Israel Daramola described the song as a "glitchy, thumping" dance record with a sample that highlights Grande's "nursery rhyme- style melody" during the repeated chorus and her voice "is alive with feeling and thrives in the quirks and constant vibrancy of the music.

Following her debut, Petras was dubbed as "the new princess of pop" by Nasty Galaxy. This title was further repeated by publications including Billboard, ABC News, V, and Idolator. Following the release of her debut album "Clarity" in 2019, many reviewers praised the record but criticized her involvement with Dr. Luke, who had been accused of sexually and verbally assaulting American singer-songwriter Kesha in 2015. To avoid controversy, Petras has refrained from mentioning Luke in interviews, and has not given Dr. Luke a formal production credit on her album.

". The music video received mostly positive reviews. Chad Hillard of Hillydilly wrote that "the host of visuals—while definitely intriguing—prove to be quite ironic considering her claim that she's away from those drug things". Writing for Idolator, Bradley Stern described the clip as "a strangely trippy, kaleidoscopic affair with lots of weird camera tricks" and said that it was a "simple, yet effective treatment". However, Mark Savage of Discopop gave the video a negative review, writing, "[...] It's a crying shame that the video for [...] Not on Drugs, is so undercooked.

"Levitating" received generally favourable reviews from music critics. In The Guardian, Laura Snapes stated that the song "blooms like a row of tropical flowers". For Crack Magazine, Michael Cragg noted it's French bloghouse hallmarks, previously explored on "Don't Start Now". DIYs Elly Watson labelled the song "dancefloor- ready", while Mike Nied of Idolator named it multiple titles, including a "starry-eyed love song", a "straight up sugar rush", an "intergalactic adventure", and "breezy and feel-good" For Billboard, Bianca Gracie labelled it a "summery jam" and recommended playing it on a Miami road trip.

"Save Me (This Is An SOS)" :"Save Me (This Is An SOS)" was released radio stations in both Greece and Sweden on 29 May. It is the third official single from Elena's Greek studio album and the first English single from her One Life album. Music blog Idolator gave a positive review, saying the production shares similarities with hit songs by the likes of Shakira and Jennifer Lopez. Paparizou performed a mashup of "Save Me" and Freed From Desire by Gala at the annual Mad Video Music Awards.

The song was originally pitched to the Backstreet Boys but was eventually given to NSYNC to record. It was co-written by Max Martin and Kristian Lundin in a three day period after their debut single "I Want You Back" started appearing on several charts in Europe. Their label back then, BMG Ariola, wanted their next single to be similar but catered towards an American audience. In an interview with Idolator, Lundin discussed the song's recording session: > I had been up all night finishing a rough track, got to bed around 7 a.m.

An official remix of "Blow" featuring Pharrell Williams was included on Beyoncé: Platinum Edition (2014). Mike Wass from Idolator noted how the song was "borderline unlistenable" and the newly-added line, "I'm a milkman at your door" a contender for "worst lyric/euphemism of 2014". Allan Raible, an ABC News writer, deemed it redundant due to the minimal new addition to the original version. Lindsay Zoladz from the Vulture, panned the "inexplicable" remix as "a poorly assembled cut-and-paste job", further criticizing Williams's vocals as "awkward, labored, and even a little off-key".

Mike Wass of Idolator compared the instrumetation to the later work of Lana Del Rey, Låpsley and Birdy. An EP featuring remixes by Blu J, Gazzo, Jerry Folk and Aire Atlantica was released in January 2017. Dan Regan of Billboard favored Jerry Folk's remix over the others, saying it "punches you right in the face with its wall of vocal harmonies", and further says "silence weighs heavy throughout, adding weight to every note as it drips from the speaker into your brain". Lyrically, “Six Feet Under” is described as "somber" and "delicate" like "Ocean Eyes".

In the website Idolator, Christina Lee wrote the song is an "uplifting EDM fare that comes standard with summer music festivals, though also a brand new direction for Louis after five One Direction albums." Time called it an "undeniably catchy track, a surprisingly gentle mix of Aoki’s EDM backing and Tomlinson’s melodic boy band vocals". Music website DirectLyrics stated: "Although Steve Aoki's electro- house beat flows well with the uplifting message of the song, I hope Louis releases an acoustic version of "Just Hold On" in the future". Express also called the track "fittingly uplifting".

"Skirt" was written by Minogue, alongside Chris Elliot, Chris Lake, and The-Dream, whilst production was handled under Elliot's stage name, Nom de Strip. Lasting three minutes and 29 seconds long, it is an electronic dance track that incorporates influences of dubstep, and samples the aforementioned Nom de Strip's composition, "Shake & Bake". According to Jason Lipshutz from Billboard, the track "squeezes in a generous helping of revved-up dubstep production before its crescendo reintroduces Minogue's fluttering voice." Likewise, Robbie Daw of Idolator labelled it a "slightly dubstep-tinged and somewhat minimal club track".

"Skirt" received positive reviews from music critics. Jason Lipshutz of Billboard commended the production and composition of the single, labelling it a "slithering club" anthem. Robbie Daw, writing for Idolator, compared its themes to the singer's 2003 single "Slow", but believed "Skirt" "delivers with a truly delicious chorus — something we’ve come to expect from Minogue over the years as one of the world’s reigning pop forces." Likewise, Slant Magazine's Alexa Camp commended the track's composition and production, but felt disappointing that it was left off Minogue's Kiss Me Once album.

William Baker also commended Minogue's fashion styling and loose portrayal of Fonda's Barbarella character. Sean Smith further analysed the visual more and found that Minogue, both at the time of the video's release and retrospectively, "was never shy about removing her clothes for the sake of her art [...] She suffered for her art." Jude Rogers from The Guardian labelled the clip "cheeky", whilst Erika Brooks Adickman from Idolator listed it as one of Minogue's most iconic and sexy music videos. At the 1995 ARIA Music Awards, Kylie Minogue won the award for Best Video.

Sam Lanky of Idolator gave the EP a positive review saying; "The four-track EP is led by single "Somebody Loves You," a spine-tinglingly euphoric '80s pop nugget with a singalong chorus catchier than most of what's on mainstream radio. Weirder still is that the other three tracks are equally impressive: The luminous "You're In Love" evokes the new Tegan and Sara album, while "Right Here" is dreamily lush; "High Society" is an injection of New Order synth-pop with a rich, cinematic chorus. It's absolutely perfect pop, and it's absolutely - incredibly! - free".

Exhibiting influences from 1980s and 1990s musical styles, "Sexy Dirty Love" is a "funky" nu-disco track that has an uptempo danceable rhythm and contains "old-school" R&B; and electro genres. Due to its sonority, Mike Wass from Idolator associated the track with Justin Timberlake's FutureSex/LoveSounds album. The reviewer also pointed out that the song "feels like a bolder, more adventurous take on 'Sorry Not Sorry'". Lyrically, it narrates a thoroughly modern romantic encounter initiated via web with Lovato singing about fantasy through the phone in the first verse.

The music video for the song was originally directed by Claire Carre,Sia: The Idolator Interview 9 March 2010, Retrieved 31 January 2014 who also directed the Soon We'll Be Found video, and included Bollywood dancing.PrideSource - Sia Gets into the Groove 22 April 2010, Retrieved 31 January 2014 However, discontent with the result, Sia recommissioned Kris Moyes, who previously directed Sia's videos for Buttons and The Girl You Lost to Cocaine. The video features Sia as many puppet-characters - an idea which Moyes apparently came up with on the flight to the shoot.

Bianca Gracie of Idolator and Lewis Corner of Digital Spy both thought the video is Lovato's "steamiest". Hayden Manders of Nylon wrote that the video "doesn't disappoint, but it somewhat misses the mark", and "it's odd that a video for a song about same-sex experimentation features none. You'd have to listen to the lyrics to understand the underlying message of the song because the video shies away from it." New York magazine's Dee Lockett called it "the most sexually liberated video Demi's ever done to go along with its empowering message".

"Only Human" received generally positive reviews from music critics. MuuMuse was positive, commenting that the song was "actually massive" and the first song from the era that did not sound like it might still be a demo. Bradley Stern while writing for Idolator commented that the "encouraging" song marked a mature new direction for Cheryl, and though it was her "most gorgeous and assured ballad" to date. Entertainmentwise's Shaun Kitchener was also positive, commenting that the "delicate title track provides an affecting vulnerability that nicely counterbalances the brash confidence found elsewhere".

It was confirmed on November 15, 2012, that Carey would be performing at the NBC event Christmas in Rockefeller Centre later that month. The singer performed "All I Want for Christmas Is You" and "Christmas Time Is in the Air Again". Idolator writer Sam Lanksy wrote that she performed with "maestro vocals", but felt that her vocals on the latter rendition "eclipsed" that of the former. Carey also performed both songs when she appeared as a special guest on Michael Bublé's 3rd annual televised Christmas Special, which aired on NBC.

The song was well received by the music critics. Robbie Daw from Idolator described the song as a "moody little guitar-driven number", and called it an "appropriate fit" for the musician. Nick Walter from 103.3 the App, like many other sites, spotted some similarities to Ambassadors' own hit single Renegades, which were mainly the harmonies and acoustic guitars brought by them, giving some kind of folkness to the song. Ameristream site also stated that Grey's song is the "kissing cousin" of the band's, but in a good way.

A lyric video, which "channels the familiar opening credits of the classic show Saved By The Bell" as noted by Carl Williot of Idolator, was released on October 18, 2012. The music video premiered on October 26, 2012, at the Fun Size film premiere, and was released online on October 28, 2012. Directed by Justin Francis, the video starts with Jepsen and her fellow friends driving a Fiat 500. After they come out of the car, they follow to a '80s inspired warehouse, where Jepsen starts flirting with a guy (actor Kurt Collins).

Mike Wass from Idolator said "We Belong" has a "ridiculously catchy vocal hooks and boasts a sing-along chorus" and said it sees "Sheppard exploring '80s synth-funk with enough modern flourishes to avoid sounding dated. All in all, it sounds like another huge hit." Joe DeAndrea from We Got This Covered said "We Belong" is "Ridiculously catchy and practically 80s-esque, the song almost sounds like a poppier and more predictable version of The 1975." "We Belong" was the most added song to Australian radio in the week of November 7, 2016.

" In a similar analysis, Ariana Bacle of Entertainment Weekly declared the song is "sensual, snap-heavy, and sure to soon be playing out of many a bedroom speaker." Bianca Gracie of Idolator wrote the track is a "bedroom romp that finds the artist seducing her lover over a slinky, finger-snapping beat — which is all reminiscent of a young Janet Jackson." Christina Lee of the same publication agreed, declaring that "[w]ith her soft, barely-there vocals taking center stage in 'Dance Like We’re Making Love,' Ciara can be mistaken for Janet Jackson.

Brittany Spanos, writing for Rolling Stone, stated the song "plays to [Smith's] retro-leaning strengths and Normani's own solo vision of being a Sexy soul-dance diva". She concluded her review by calling the song "simple and fun". Rose Dommu of Out praised the duo's vocals, calling Normani's "sultry voice is the perfect counterpoint to Smith’s own deep tone". Mike Nied of Idolator wrote that the song "expertly capture the frustration and loneliness of heartbreak, bottling it and presenting it as something both deeply personal and infinitely relatable".

Fifth Harmony first performed "Don't Say You Love Me" live during their appearance on MTV's reboot of Total Request Live alongside "He Like That" on October 27, 2017. The performance marked a change of scenery for TRL live performances, with the group singing in the studio instead of on a stage set up in Times Square, which was where the bulk of performers were situated in the first week. Billboards Caitlin Kelley wrote positively about their vocal performance and synchronized harmonization. Similarly, Mike Wass of Idolator felt that their vocals were "on point".

Becky Bain of Idolator called it "an epic mini-movie, full of romance, intrigue [...] [with] a whole lot of unnecessary PDA between Brit and her beau. It was full of passion, joy and just a little touch of madness — just like its star." Bain also noted several influences, such as Alfred Hitchcock films and the music videos for Spears' "Toxic" (2004) and Green Day’s "21 Guns" (2009). A writer for Rolling Stone also compared it to a Hitchcock film and deemed the opening scene as "a tribute to Old Hollywood".

To promote "Lolita", LaBelle sang an acoustic version for Rap-Up, and performed the original version at various venues, such as New York Fashion Week and the Club Skirts Dinah Shore Weekend. Directed by Diane Martel, the single's accompanying music video features LaBelle as Lolita and shows how she seduces boys from her neighborhood. The video received attention due to its focus on sexuality. Welsh singer-songwriter Charlotte Church strongly criticized Martel's creation of sexually-explicit music videos, and Idolator selected the carwash scene as an instance in which the video emphasized sexuality.

Sam Lansky of Idolator described the composition as "an electrifying dance-pop banger with a monolithically great chorus and a storming, anthemic beat, plus a big house break" while Jon O'Brien of Yahoo! Music evaluated that the work managed to "enter the territory of the 'throw hands up high' without succumbing to the usual bombastic style of Guetta." "Forget Forever" was also compared to the work of Swedish electro house DJ Calvin Harris, as well as the Barbadian singer Rihanna. Critics claim that "Forget Forever" was inspired by Justin Bieber (pictured).

" Ben Norman of About.com wrote, "Nothing against 'Dancehall Queen,' but it just isn't the Robyn people have come to love." Robbie Daw of Idolator called it "subtle", and wrote that "it’s hard to imagine this song being worked as a single", but concluded saying that it "definitely has an infectious hook". Anthony Balderrama of Consequence of Sound wrote that the song "is what you’d expect to hear: a smooth beat and an international sound, but nothing you’ll keep on repeat. It seems like a match made in heaven, but ultimately it’s fairly safe.

A writer for Ranconteur.la found the setting to be reminiscent of that from the 1972 film Deliverance. Mimi Davies wrote the core theme for the song and its video was "[t]hat being fabulous is not synonymous with equality" and a woman is still controlled by the patriarchy even if she can purchase objects for herself. The video received a positive response from critics following its release. Rachel Sonis of Idolator wrote that the video was "just as fantastic and strange you’d expect", and Pusey said that Candy "has well and truly outdone herself".

In the video, Swift portrays an actress akin to Elizabeth Taylor, while Eastwood portrays an actor akin to Richard Burton. The video received mixed reviews. Slate Forrest Whickman found that the video was "a lot more engaging" and that "it does a good job matching the song's theme of lingering on with someone 'even if it's just pretend'." Mike Wass of Idolator called the video "a much stronger effort" than Swift's previous videos and likened it to romance films Out of Africa, The English Patient and The Notebook.

Tinashe released her first self-released studio album, Songs for You, on November 20. The album has been described by Idolator and The Cut as "excellent", with The Wall Street Journals Ben Dandridge-Lemco suggesting that it is "tough to find a negative review about the project anywhere." On July 17 of 2020, nearly eight months after the successful release of Songs for You, Tinashe returned with the release of single "Rascal (Superstar)". In August, Tinashe confirmed she would be featured on Iggy Azalea’s single "Dance Like Nobody's Watching".

" Lars Brandle of Billboard complimented the song as "radio- friendly" and concluded that "Gaga is in good form." Lipshutz from the same publication wrote that the song and its lyrics were a "thrilling listen, intoxicatingly defiant". Writing for The Daily Beast, Kevin Fallon was highly enthusiastic toward the song, calling it "pure pop heaven" and giving his praise to its "chorus that will make it a radio hit..... and driving, danceable beat throughout." Carl Williot of Idolator website summarized the song as "a pretty flawless piece of R&B.

" Mariel Concepcion from Billboard said that no Nelly album would be complete with the emo track, "Gone". Ken Capobianco from The Boston Globe called "Gone" the melodic companion to "Dilemma". Robbie Daw from Idolator was less impressed. Though he praised the idea of the duet he said "This new slow groove is harmless enough, and even boasts a similar beat to its predecessor. But overall, we can’t help feeling that, since they bothered, these two should have come up with something a little better than a pale retread.

Cady Lang, writing for Time appreciated the touching quality of the recording's nature, which she described as heartbreaking. Craig Jenkins of Vulture compared its potential appeal to "Daddy Lessons" as well and felt they both shared a "big left-field bid for country-radio airplay". Mojica ranked "Million Reasons" at number six on his list of the best songs from Joanne; he acclaimed its lyrics and noted the contributions made by Lindsey. The staff at Idolator selected "Million Reasons" to review as part of their 'Rated & Reviewed' column series.

Santa Claus Lane features production from Matthew Gerrard, Chris Hamm, Alain Bertoni, Charlie Midnight and Chico Bennett; on the 2003 reissue, the bonus track "What Christmas Should Be" is produced by Charlton Pettus. This song was featured on the end credits of her movie Cheaper by the Dozen. In a 2013 interview with the website Idolator, Duff expressed her dislike for "Tell Me a Story", saying that she "honestly hate[s] that record — [and she has] blocked it out of [her] memory". Duff also remarked that she "[didn't] even remember" the song.

According to Zedd, "Aura" was the most interesting track on Artpop because its combination of oriental music, guitars and an electronic beat enabled it to "cross over" musical genres. A mariachi and EDM song, "Aura" begins with Gaga's filtered vocal against a Western-style guitar: "I killed my former and left her in the trunk on highway ten", followed by dissonant laughter. Sam Lansky of Idolator called it a "terrible Nancy Sinatra affectation". A big-sounding EDM production follows the laughter, its beat reminiscent of Gaga's 2011 "Government Hooker" and its vocal "garbled".

The song received universal acclaim from critics upon release, with many deeming it as her strongest single to date. Sam Lansky from Idolator praised the song's lyrics and classified it as the best of the singer's career. Jacques from Arcadey also praised the lyrics and described the song as "tight and radio-friendly". Matt Collar from Allmusic felt "Saturday Night" was one of the album's standout tracks. On the week of 16 September 2013, "Saturday Night" entered at number 34 on the New Zealand Singles Chart, and peaked at number 23.

Mesfin Fekadu from ABC News thought both tracks were "good", but stated that they "could be great if Perry didn't hold back and explored more lyrically and sonically". Chris Bosman from Consequence of Sound criticized its placement on the album track listing and thought that they "would stand out more if they ('By The Grace of God', and closing track 'Double Rainbow') hadn't been forced to rub elbows, thus stealing momentum and impact from each other". Carl Williott from Idolator praised the track as a "nice counterpart to Roar".

" OK! magazine called the compilation "[a]mazing" and stated that "Kylie collects together some of her finest moments." However, Robbie Daw of Idolator commented that "while we were hoping for something more along the lines of a box set compiling her complete singles discography (sigh), we'll have to settle for the 21-track The Best Of Kylie Minogue". Q gave it a favorable review, but said "Part cipher, part siren, Minogue's odd power is underlined: it's not always clear quite what she does, but she does it brilliantly.

"Look at Me Now" is a "dirty south-inspired" hip hop song that features American rappers Lil Wayne and Busta Rhymes. According to Chad Grischow from IGN, the song features "thumping bass, spacy synth and horn jam sounds." Electronic background mixes are also present in the song. Over a beat that evokes Cali Swag District's 2010 single "Teach Me How to Dougie", "Brown sings that he's still riding high (in a yellow Lamborghini, to boot) before venturing off into a typically tasteless discussion of his manhood", according to staff members from Idolator.

The song received generally positive reviews from music critics. A writer for Billboard praised the song, writing, "with blunt, honest lyricism and razor-sharp songwriting, Michaels' decision to choose minimal production proves to be wise, helping to frame her intriguing vocals expertly in order to give fans a delicious first taste of what is yet to come". Writing for Idolator, Mike Wass stated "it can be hard for songwriters to carve out a unique voice when they step out on their own, but it doesn’t look like that will be a problem for Julia".

Critics including Althea Legaspi from Rolling Stone and Minou Clark of HuffPost complemented Mars' dancing skills and choreography. Mike Wass, writing for Idolator, and Vultures Karen Brill compared the video to Drake's "Hotline Bling" (2015) due to its simplicity and "unadulterated feeling-yourself-ness". Wass and the staff of Rap-Up called Mars' footwork "fancy", while Brill said the visual is "wondrous" but that it should include "the ubiquitous music video cube". Vibe J'na Jefferson shared a similar perspective, saying "the magic of this video is in the simplicity" because of Mars' performance skills, visual effects, and editing.

Bradley Stern from Idolator considered that Michelle said "For anyone hoping to hear Miss K. Michelle showcasing her powerhouse chops, this one ought to satisfy." and praised "her irresistible high-pitched vocals and emotional lyrics stand out the most in the piano-driven ballad". During a review for Anybody Wanna Buy a Heart? for PopMatters, Devone Jones said that the song is "probably one of the most dull ballads in recent memory due to the fact that everything is wrong" and said that it sounded like a "failed Mariah moment that had too much effort put into it".

"Someone" received positive reviews by music critics upon its release. The Guardians Carolline Sullivan praised the song as one of Clarkson's greatest kiss-off ballads, writing that she sings the track with the "utmost purity of tone". Reviewing Piece by Piece for New York Daily News, Farber lauded the song as one of the album's most interesting tracks, saying that it repeats Clarkson's flair for the passive aggressive put-down. Jonathan Riggs of Idolator praised "Someone" as having some of the "best, most striking lyrics in recent memory", remarking that it elegantly traces how breakups bring out our kindest and meanest selves.

In April 2013, Mendler recorded a series of four videos which were released to Vevo and YouTube entitled The Hurricane Sessions, and are acoustic performances of two songs from Hello My Name Is... and two covers. On May 8, 2013, the first video, "Starry Eyed", an Ellie Goulding cover, was released. It received positive reviews. Sam Lansky of Idolator commented, "[Mendler's] husky voice works nicely with the song, especially toward the end, as it gets a little more emotive." On May 15, 2013, she released the second song, "Locked Out of Heaven", a Bruno Mars cover.

Mark Blankenship of Logo also opined that the song "sounds like an easy listening hit from the 1970s or 1980s, with gently groovy music underneath a laid-back vocal." It is noted that the sound of Hammond organ is instrumental in resonating the vibe of early 1980s in the song. Zara Golden of VH1 called the instrumentation of the song as "bright and breezy" and remarked that it is more soft-rock-y than "Don't You Wanna Stay". Sam Lansky of Idolator noted that Clarkson's restrained vocals are imbued with a country twang which is suitable for the song's country instrumentation.

Ed Easton Jr. of WNOW-FM said that the song showed that Ciara and Ludacris continue to show they have chemistry. Idolator commented that the song's "simple bass line and shimmery synths" create a "powerful, hypnotic track that's going to sound great on the dancefloor," as Ludacris adds a "raunchy," "rapid-fire" verse. The review also said Ciara's longtime collaborators, Tricky Stewart and The-Dream could "put Ciara back on the map with this one." Andy Kellman of Allmusic and Allison Stewart of The Washington Post both noted "Ride" as a standout track from Basic Instinct.

Bradley Stern from MuuMuse described it as "Ryan Tedder-meets-Fun" while observing that the "cinematic quality" of Lana Del Rey's music was present in the track. Idolator editor Sam Lansky was very positive about "Trouble", favoring the "anthemic sound", which he described as evoking the catalog of English indie rock band Florence and the Machine. Bradley Stern from MuuMuse deemed it a "perfect way to close a celebration of imperfection", and compared it to the music of the band fun.. For MTV Buzzworthy, Stern listed the song as second in his list of the "5 Must-Hear Pop Songs Of The Week".

Jessica Hyndman from MTV noted that "'Sledgehammer' takes on a fun pop vibe" that lacked in the group's previous single, "Boss". A reviewer from Teen Vogue deemed the track as "catchy", while Carolyn Menyes from Music Times gave "Sledgehammer" a mixed review. She praised the group's performance, commending that their distinctive voices sound "perfectly", but expressed that the single fell "completely into average territory." In a 2017 article published on Idolator, Mike Neid covered the song in the website's "Should Have Been Gigger" feature, stating that the track was one of the group's most "underrated" songs.

Beyoncé performed "Love on Top" live for the first time on August 14, 2011, during her residency show 4 Intimate Nights with Beyoncé held at Roseland Ballroom in New York City. Wearing a gold dress, she performed the song in front of 3,500 people, backed by her all-female band and her backing singers, the Mamas. For the performance, "Love on Top" was given an "uptempo overhaul" and eventually got everyone "moving to the catchy [synthesizers]", as stated by Mike Wass of Idolator. Wass also wrote that "Love on Top" was one of the highlights of the concert.

In an interview with Idolator, Bruno Mars revealed the song's conception and inspiration, saying that he was with his friend Benny Blanco and he was playing a couple of songs to Mars, including one which lyrics were similar to the ones in "Grenade". Blanco added that the band to which the song belonged was not signed, and that the CD was not released. Mars replied "I can relate to that so much, I want to take that and make it my own". Mars confessed that the song was inspired by "his love for a girl who did not love him back".

"Wet" garnered generally positive reviews from critics. Awarding the song with three out of five stars, Robert Copsey of Digital Spy gave the song a mixed review, stating that although Scherzinger purrs with conviction, the song sounds ultimately similar to Rihanna's "Only Girl (In The World)". While reviewing the album, the same website reviewed "Wet" as a highlight of the album, and named it a possible future single. Idolator stated that Scherzinger is "positively dripping with sex appeal in her ode to getting doused", later adding that the Stargate- produced "dance jam is the musical equivalent of a run through the sprinkler".

" The site's other reviewer, Nick Levine, agreed saying that the song "thumps as persuasively as Muhammad Ali circa 1967." Robert Daw of Idolator said "if you think Ms. Kelly is taking the go-go boots off anytime soon, then you'd best go lean against the wall, flower. Rowland's Guetta-produced new single 'Commander' is pure strobe-light adrenaline rush ... [it] will appear on Kelly's as-yet-untitled third solo album ... we're predicting a full on Rowland Renaissance!". With Alex Catarinella of Paper saying "she belts out soaring vocals, is further proof that she's no longer the cute teenage girl sharing a chorus.

"Save Me (This Is An SOS)" :"Save Me (This Is An SOS)" was released as the lead single at radio stations in both Greece and Sweden on 29 May. Music blog Idolator gave a positive review, saying the production shares similarities with hit songs by the likes of Shakira and Jennifer Lopez. Paparizou performed a mashup of "Save Me" and "Freed From Desire" by Gala at the annual Mad Video Music Awards. The song, along with the greek version "Sou Stelno SOS" peaked at #5 at the greek international airplay chart, and at #13 at the official combined airplay chart.

Rap-Up.com revealed the first images from the video on September 9, 2011, depicting Rowland in a gold leotard and rapper Big Sean (who is featured on the song) sat in on some gold steps while Rowland lies on the next step up. In another scene, Rowland "commands shirtless male dancers" while dressed in a "skin-bearing leotard" and metal bra. Other scenes include Rowland posing with a foil cape and interacting with an elephant. Entertainment website Idolator described Rowland as getting up close and personal with the hunky male dancers as well as playing with Suzy the baby elephant.

The visuals for 'Dance for You' are more or less a chance for her to show off why so many of you think her husband, Jay-Z, is the luckiest man alive." Leah Collins of Canadian magazine Dose wrote, "It's all very sultry and intimate to a point—that point being the moment she unveils a line-up of back-up dancers." Similarly, a writer of the website Idolator commented, "'Dance for You' doesn't compare to the spectacle of say, the 'Run the World (Girls)' clip, but it is effective. [...] It's a mostly private dance—until all those other ladies show up.

During the course of its run the video became the seventh most played video on MTV for the week ending on February 23, 1997. Also in February 1997 the "One in a Million" video made its television debut on the cable network channel VH1. In a 1997 article discussing the One in a Million music video MTV felt that Aaliyah was getting "all grown up and steamy in the video". Jordan Simon from Idolator felt that the video for "One In a Million" displayed a striking resemblance to various futuristic sci-fi films such as Aliens, The Fifth Element and The Matrix.

Yet Madonna more than lives up to the challenge, showing enough power and polish to make even Madonna-phobes admit she can sing. Louis Virtel from music website Idolator wrote, "No other Madonna song sounds quite like it, and it holds up as a melancholic statement against grander compositions like 'You'll See' and 'I'll Remember'." J. Randy Taraborrelli, author of Madonna: An Intimate Biography, called the song, along with "You'll See", as one of "the most sombre songs [Madonna] has ever recorded." Tirzah Agassi from The Jerusalem Post felt the song is "much more shallow" than "You'll See".

Upon its release, "Cool" was met with generally favourable reviews from music critics. Mike Nied of Idolator appreciated the "summer vibes" of the song along with its "nostalgia-inducing lyrics" and "sing-along chorus" and regarded it as an album highlight. Chris DeVille from Stereogum shared a similar view writing, "The antiseptic feel-good vibe continued on “Cool,” a comfortably swaying singalong about life getting better and better, again with a monstrous and undeniable hook." Sheldon Pearce of Pitchfork felt that the song "benefit[ed] from a hearty dose of good humor" and likened it to the group's 2006 single "Year 3000".

The record opens with the singer's lead single "Issues", a midtempo song talks about a relationship between people who have "issues", but love each other enough to work past them. The second single of the EP, "Uh Huh", is described by Mike Wass of Idolator as "brighter, bolder and more instant" than "Issues", as well labeling the chorus as "obscenely catchy". In "Worst in Me" Michaels discusses a troubled relationship. Variety opined that the relationship described in the song is similar to the one in "Issues", but that in "Worst in Me", Michaels is "less hopeful about how it'll turn out".

"Till I Die" garnered positive reviews from music critics. Becky Bain of Idolator appreciated the "nice blend of electro and R&B;" music in the song, writing that it "has a unique sound that's both experimental and easy to lay back to". Andrew Martin of Complex magazine described "Till I Die" as a "laid-back, summer-primed production", while Becca Longmire of Entertainment Wise viewed it as a potential hit. Trent Fitzgerald of PopCrush complimented the song for having a "nice R&B; groove" and added that "it will certainly get some spins on urban radio".

"Lust for Life" is reminiscent of 1960s music, with backing harmonies vocalizing around Del Rey's vocals with sung loops as "doowop-doowop" and "shooup-shooup". It has doo-wop and Motown-inspired production that recalls the music of past girl groups, with Del Rey paying homage to the Angels' 1963 single "My Boyfriend's Back." Idolator characterized "Lust for Life" as a "witchy dream pop" song, as well as describing it as a "throwback to the wall of sound production." The song is about "climb[ing] up the H" of the Hollywood Sign to dance and have sex.

As commented by Robbie Daw of Idolator, the song's "real" hook is "the fuzzy electric guitar" that begins sawing through the melody about three minutes in, and continues building until it reaches "a, er, climactic[sic] solo at the very end." Rihanna's vocal range in the song spans from the low note of G3 to the high note of B♭4. As noted by Emily Mackay of NME, her vocals sound "restrained" and "controlled". Throughout the song, Rihanna sounds "suspenseful" and "sultry" as she sings the lyrics "I got secrets that I wanna show you".

Mike Wass from Idolator praised the show's costumes and dubbed the show a "candy-colored visual extravaganza". In a review of the one of the Glasgow shows, Matthew Magee from The Daily Telegraph awarded the tour four out of five stars, stating that Perry "made the kind of natural connection with her Glasgow audience that her peers would die for." Richard Clayton of Financial Times gave the show an excellent review, awarding five out of five stars, and described it as "sonically stonking, visually spectacular and fun, fun, fun." Daisy Wyatt from The Independent criticized Perry's vocal ability and stage presence.

Carl Williot of the website's Idolator thought that the new video maintained the "sweaty nightclub vibe" style from the previous video "Locked Out of Heaven". Additionally, she felt there is a story centered on Isabella, the new dancer, and Mars, which obviously upset "the club's veteran strippers". The Times of India newspaper considered the video one of the most controversial of 2013 because of "Pinto strip act". Ray Rahman of Entertainment Weekly opined that "Bruno Mars is getting real" since the video was set on a strip club and featured Pinto stripping, licking guitars and getting intimate with Mars.

Matt Collar of AllMusic awarded Trouble a rating of three and a half stars out of five, calling it a "pantomime that artists have been trying to pull off ever since Madonna sang about a sexual experience so revelatory it gave her back her virginity". He noted that Kills' personality, although similar to that of Pink and Lady Gaga, was "enough ... to keep your attention". Writing for Idolator, Sam Lansky highlighted Bhasker's production, which he credited for making the album cohesive. Lansky said Kills had evolved as a songwriter and had given legitimacy and "richness" to Troublesongs.

Mike Wass from Idolator called it an "obtuse synth track" believing the composition to be "ingenious" or "pretentious", and felt that Gaga's endeavors kept the pop music scene interesting. Evan Sawdey from PopMatters believed that the vibe of the previous track on the album, "Do What U Want", carried off to "Artpop" which he described as "strange" and "hypnotic" and the best thing on the parent album. Harley listed "Artpop" as one of the more aurally pleasurable tracks from the album. Calling it a "standout" track, Andrew Barker from Variety compared Gaga's vocals to those of Debbie Harry, with their cold disposition.

He also commented the artist "gives one of her most emotionally grounded performances to date" and felt she has "grown tremendously as a visual artist and performer". Mike Nied of Idolator called it "a simple but thoughtful affair" and added that Grande "offers a glimpse into her mind" in the plot. Writing for E! News, Jamie Blynn commented that, unlike the singer's previous music videos from Thank U, Next, "In My Head" "strips away the elaborate theatrics and backup dancers", since it only featured Grande in a white room wearing a puffer jacket, skirt, bodysuit and boots.

" Mark Beaumont of NME also praised Hudson's contribution pointing out that she "brings soulful sass to the piano-led song." NME named "Trouble" one of Azalea's ten best songs in a list published in 2015, writing that it "hits the sweet spot between craven soul-pop crossover and wind-the-windows-down anthem." Mike Wass of Idolator said the track "represents an interesting departure for the Mullumbimby babe with its soulful chorus, retro production and mellow rap. It speaks volumes for the femcee’s versatility that she pulls it off as easily as a sexy pop anthem like "Black Widow".

" Nolan Feeney of Time remarked that, "In less capable hands, 'Baby Don't Lie' would leave a weaker impression, but Stefani and all her vocal idiosyncrasies find a way to make it her own." Christina Lee from Idolator noted that "Stefani hiccups through her lyrics like Rihanna does in 2012's Sia-written "Diamonds", save for the Love.Angel.Music.Baby-ready sung-rap breakdown". However, Lee observed that, "Considering the song's subject matter, her bold-faced collaborators (Ryan Tedder, Benny Blanco and Noel Zancanella) and, of course, her own track record, Stefani's new song isn't nearly as assertive as I had expected.

After its release, the album was featured in the front page of MySpace U.S and Purevolume.com declaring them one of the "Top Unsigned Bands of 2010". The album received reviews by Idolator, AbsolutePunk, Alter The Press, AltSounds who said, "Since the success of their 2008 EP, The Narrative have been touring the country and gaining a dedicated following. They began writing and recording their first full length in 2009 and are ready to impact today's music scene with a genuine record that strikes a balance between profound songwriting and catchy melodies" and a 3,5 stars review on Alternative Press.

On September 16, 2014, Scherzinger revealed the track listing for Big Fat Lie through Instagram via a crossword puzzle that fans had to solve. Later she unveiled the album artwork along with the title for the standard and deluxe versions of the album; the black-and- white image depicts a close-up image of Scherzinger tussling her hair. Mike Wass of Idolator noted that the image "screams early Janet Jackson." It was made available the same day for pre-order through the iTunes Store and it was confirmed that it would be released on October 17, 2014.

Stephen Thompson of NPR cited the track as "moody". Nicole Almeida of Atwood Magazine commended the lyrical content, which she described as "vulnerable" and "atmospheric", and mentions "the layered vocals and Eilish’s great voice make this song special". Mike Wass writing for Idolator labeled the song as a "dreamy ballad". NME ranked "Ocean Eyes" at number 11 on their Every single Billie Eilish song ranked in order of greatness list, with the staff saying the "most memorable moments on 'Ocean Eyes' are its most vulnerable, like the opening whispers or the sure-footed yet restrained chorus".

" Philadelphia's Patrick DeMarco described that "this was a record that cemented Madonna as the icon we know today". Jamieson Cox from Time called the album "underrated", while The Plain Dealers Troy Smith felt that it was "overlooked" because it was "sandwiched between her most controversial work (Erotica) and, arguably, her best (Ray of Light)". He praised songs like "Take a Bow" which he considered as "the best romantic ballad of her career". Bianca Gracie of Idolator website wrote: "Bedtime Stories proved that Madonna never lost her edge; she just decided to soften it so that her image could regroup.

The song was written by Max, Madison Love, Tix, Cook Classics, and Cirkut, with the latter of the five solely handling production. When Max was a child, her parents said that "you're sweet, but you're a little psycho"; this inspired the song's title. In an interview with Idolator, Max discussed the message of the song, stating it is "about a girl who's not afraid to show all of her sides and her dualities, and about a guy loving all those sides". Max continued, saying she was misunderstood as a "psycho" but was "an outspoken girl ... speaking her mind".

Joshua Bote from Billboard described the song as a "a divine, haunting ballad," saying, "Filled with reverb-heavy keys, creaky strings and cinematic, post-rock flourishes, Sivan sounds absolutely stunning on 'Revelation' as he sings about young, queer love as a form of freedom and revolution." Randall Colburn from Consequence of Sound said "Buoyed by gentle piano and the kinds of swelling atmospherics central to Jónsi's work, the thoughtful, calming song achieves a kind of melancholic catharsis that's as hopeful as it is heartrending." Mike Neid from Idolator called it a "stirring anthem with a powerful message".

The video received positive reviews, and won the Australian Video entry at the 1998 MTV Video Music Awards. Erika Brooks Adickman from Idolator said that "the tongue-in-cheek video had the pop icon acknowledging all the ways she had reinvented herself over the years". American website BuzzFeed hosted a poll for online viewers to vote their best Kylie in the "Did It Again" video. As a result, Indie Kylie won with 36% (2,926 votes), Cute Kylie came second with 26% (2,083 votes), Dance Kylie came third with 20% (1,628 votes), and Sex Kylie came fourth with 18% (1,510 votes).

"Waiting for Tonight" is the best song of Lopez's career according to Entertainment Weekly, the Chicago Tribune, Slant Magazine, and Idolator, among other sources. It received acclaim from music critics, with MTV describing the song as "classic Lopez". "Waiting for Tonight" was used frequently as a celebratory anthem, used in anticipation for the dawn of the new millennium. People magazine stated that it became the "turn-of-the-millennium" club anthem. Lauren Zupkus of The Huffington Post praised it as an "epic dance hit", which was the "perfect anthem for all of our anxiety about Y2K".

Heaven Upside Down was so striking, so definite, that divining [Manson's] next move was always going to be to presume a lot about him. And that's always been a fool's errand. For now, it's enough of a clue to know that what Marilyn Manson has in store is going to be something on a grand scale, and with a sense of class only he can unlock." Idolator called the track "unexpectedly melodic, reflective and semi-accessible", while Consequence of Sound wrote: "Musically, the track is powered by an acoustic guitar riff, as the song is both melodic and heavy at the same time.

Brittany Spanos from Rolling Stone complimented the track and described it as a "breezy, hypnotic love song". Winston Cook-Wilson, in his review for Spin, wrote that "365" was "a featherweight piece of pop-house that luckily does not sound like every other Zedd song the producer has released in recent memory". Michael Love of Paper praised "365", calling it "a pretty solid pop tune from Zedd and Perry, which of course, is what also helps you stay till the end." According to Mike Nied from Idolator, it had been "perfectly tailored for a Valentine's Day release" with its "sugary sweet lyrics".

Mike Nied of Idolator regarded the "atmospheric" song as "another solid gold bop", complimenting its ability "to present a new, more mature version of the superstar". Sam Damshenas of Gay Times opined that the song "displays a saucier, funkier side" to Mendes. Jordan Sargent of Spin praised the track, deeming it "notably well-made pop music" and "refreshingly spacious," despite being ambivalent towards his previous single "In My Blood". Billboard named it the 22nd best song of the first half of 2018, Elle considered it the 2nd, while Uproxx listed it at No. 8 for the best pop songs of 2018.

It is composed in the key of D major with Brown's vocal range spanning from the note of A3 to the note of B4. The song uses a portion of the melody from "I'm Not Alone" by Calvin Harris. According to Robbie Daw of Idolator, "Yeah 3x" is a mixture of "Forever" (2008) and La Roux's "Bulletproof" (2009), while Sean Michaels of The Guardian commented that the song seems to be inspired by David Guetta's Eurodance sound. Nick Levine of Digital Spy musically compared the song's production to the sounds of Usher, Taio Cruz, Jay Sean, The Black Eyed Peas and Calvin Harris.

The accompanying music video for "If" portrays voyeurism, sensuality and intense choreography, while depicting technology that was unavailable at the time, such as touch screens and web cameras. The video received various accolades, including Best Female Video and Best Dance Video at the MTV Video Music Awards, and a Billboard Award for Dance Clip of the Year. It was also voted the second best female video of the decade by Idolator. Jackson performed "If" at the MTV Video Music Awards in a medley with "That's the Way Love Goes", in addition to several of her concert tours.

Mike Nied of Idolator called the song Lloyd "at her most liberated, and she has rarely sounded better." Writing for The Guardian, Kate Solomon wrote that the "sing-songy nursery rhyme feel and breezy delivery don't hide the cutting tone", and compared it to anyone who has "spent an hour scrolling through an ex's Insta feed before sending 600 screengrabs to the group chat". According to her Spotify page, "None of My Business" exceeded 200 million views/streams across all platforms and has sold over a million copies worldwide. In addition, it has also been certified Gold in Brazil.

Mike Wass of the website Idolator called the clip for "Blow" the best music video of 2013. Brent DiCrescenzo of the magazine Time Out listed the video as the album's second best further describing it as a "candied and cool disco cut stuffed with '80s cheese". James Montgomery of MTV News chose the video for the song as one of the best on the album. Jocelyn Vena of the same publication wrote that the "colorful" video which was "all about fun" and included "sexy moves", paid homage to the disco-era of the 1970s and the 1980s dance show Solid Gold.

Christophe, however, uses his new abilities to levitate Claude and send him flying into the sky, thus saving Cecile from Claude. The two continue the show without Claude and show off new entertaining magic tricks and stunts. Carl Williott of American music website Idolator wrote positively of the video, stating that it was "a quirky, entertaining video, specifically the parts with Martin playing a goofy-ass villain". Jason Scott of music blog Popdust also wrote positively, describing the music video's imagery as "vivid" and "a literal interpretation of what we've all come to expect from a 1920s side-show attraction".

"Stop Me from Falling" received favorable reviews from music critics. Anna Gaca of Spin regarded the song as "a playful, effortless- feeling extension of the radiant country-pop Minogue introduced on lead single 'Dancing'". Lake Schatz of Consequence of Sound deemed the song "a fun and contagious country pop cut that'll have you slapping your knee", describing it as "Miley Cyrus going country (again), except Down Under". Writing for Idolator, Mike Wass opined that the song is "every bit as cute and catchy as 'Dancing'", complimenting Minogue's ability to "stay true to the country-pop format".

The second chorus has the on-goers, and Gente de Zona and herself, dancing in a bar. The pre-chorus has Minogue dancing around a fountain, surrounded by dancers in colorful outfits. The final chorus features Kylie and some back-up dancers dancing on a bar, with confetti shot in the air; it finishes with the singer falling into the audience and catching her. An editor at Idolator believed it to be her best music video since 2010's "All the Lovers", which they described as an "untouchable video" due to its "less-is-more" approach.

More scenes feature Brown at the club with Teyana Taylor, Brandy, and Omarion. The video ends by showing Brown standing in front of a wall that has the words 'Beautiful People' graffitied on it. Becky Bain from Idolator stated that the video was "basically a four-minute statement that Brown still has a bunch of friends on his side." Ann Lee from Metro thought his dancing in the video was "better than his singing but it's still pleasant enough." Tanner Stransky from Entertainment Weekly wrote that the video had a "nice concept", and noted it was "a departure from Brown’s trademark glossy clips".

Lieb's single "Young Love" was released in July 2013, with music blog Idolator calling it "an instantly catchy, uplifting pop/rock anthem that sounds like a cross between Katy Perry and Bruce Springsteen." In October 2013, Lieb's YouTube cover of Miley Cyrus's "Wrecking Ball" went viral and was supported through social media by singers Adam Lambert and Lucy Hale. In 2014, Lieb released a free digital download titled "Safe In My Hands" in conjunction with Allstate's #OutHoldingHands campaign. The song was performed and co-written by Lieb, and was featured in a short animated film for the same campaign.

Naomi Janes of Renowned for Sound awarded "Can I Get a Moment?" three stars out of five and called it a "catchy" track that "is a fresh and new sound" for Mauboy. Janes also praised Mauboy's "impressive vocals", noting that it is "the most redeeming feature" on "Can I Get a Moment?". Mike Wass of Idolator wrote that the song "sounds like an on- trend, percussion-heavy club-banger", while Take 40 Australia described it as a "sassy new anthem" and "certified bop". "Can I Get a Moment?" earned Mauboy a nomination for Best Female Artist at the 2015 ARIA Music Awards.

The song has been described as a "sliky electro-pop anthem". She wrote it along songwriter Asia Whitacrae in a session with Wolf Cousins' producers Rickard Göransson and Oscar Holter, this later also producing it. In an interview with Idolator, Astrid S said that it was one of the most difficult songs she wrote as she spent two days on it. At first she found the song "too poppy" and wasn't able to picture herself singing the song, but after the track getting a different production, she changed her mind, calling "Breathe", "absolutely lusher than anything else I've done".

Jason Brow of Hollywood Life wrote that the track "mixes together Zayn's smooth voice, a soulful piano melody, and an infectious beat". Mike Nied of Idolator called the song "a staggering anthem" endowed with "a powerful chorus where Zayn lets his voice soar", all this constituting "another solid addition to his ever- growing discography". Writing for MTV News, Jordyn Tilchen deemed the single "an electronic dance track". She added, "lyrically, the song feels like a message from a heartbreaker — the kind that many of us wish we would've gotten before falling head-over-heels into a toxic relationship".

Rap-Up called the song "a thumping production with hard-hitting drums", and felt that "the soulful siren blesses the head- knocking track with infectious melodies and optimistic lyrics about a promising romance". Mike Wass of Idolator described the song as "a rhythmic bop with a distinct hip-hop edge" and "a radical change of pace for the Brit", and wrote that it lacks "power-pop vibes" from previous singles "Bang Bang" and "Burnin' Up". Similarly, Katrina Rees of CelebMix opined that the track "takes us in a slightly new musical direction" and "veers away from her classic powerful pop sound".

Maroon 5 released a slow, soul cover of the song as a bonus track on their album V (2014). Bustle deemed it the best song on the album and praised it for sounding different from Maroon 5's earlier work, while Idolator said the cover "is a well-executed reminder that the late '90s were, well, completely awesome." A version of "Sex and Candy" serves as the opening track of Slothrust's Show Me How You Want It To Be (2017), an EP of cover songs. Slothrust's arrangement of the song includes a classic rock-style guitar solo.

"Live It Up" is an uptempo dance-pop and Europop song with a duration of four minutes and three seconds (4:03). The party-themed track was produced by RedOne and Alex P, who also wrote it alongside Björn Djupström, Viktor Svensson, Pitbull, Achraf Janussi and Bilal "The Chef" Hajji. Carl Williot of the website Idolator noted its "club-ready chorus" and prominent EDM breakdown, while comparing the "fierceness" in Lopez's vocals during the song's bridge to Beyoncé's song "Run the World (Girls)". The "high-energy" track utilizes a drum-patterned "fist-pumping" electro beat, as well as heavy synths.

"Hard to Do" is a soul ballad that lasts three minutes and 58 seconds. Mike Wass of Idolator viewed the track as "retro-leaning". Sarah Godfrey of The Washington Post felt that the single's melody had the "slightest resemblance" to American girl group Total's single "Kissin' You" from their 1996 self-entitled album. When describing the similarity in sound, Godfrey wrote that Michelle had purposefully made listeners feel more comfortable with the album's "more experimental R&B;" direction by "eas[ing] [them] into the sound by borrowing whispers of popular songs and fusing them to her work".

Christina Lee from Idolator called it "as assertive" as Stefani's "Hollaback Girl" (2005), which she considered a good thing, while Kayleigh Hughes from Bustle described it as "super cool". Additionally, Allison Bowsher from Much claimed that the artists, including Stefani and Timberlake, within the soundtrack created "awesome music". Jonathan Hamard from Aficia compared the track to Stefani's 2004 song "Rich Girl" and the material on her third studio album, This Is What the Truth Feels Like (2016). He felt her role in Trolls was a good move and claimed that Stefani's verses came off as cool and unpretentious.

Mike Wass from Idolator said: "'Do You Remember' is a winning mix of R&B; and eerie electronica. It's a refreshingly original sound, but there's an undeniable pop sensibility that still makes it palatable to radio programmers and, as it turns out, the general public." Chris from Indie Music Filters said: "[Do You Remember] feels like a tastefully subdued cousin of AWOLNation's hit 'Sail', plucked strings and deliberate percussion building to an excellent chorus." This song was featured in Western Sydney University's (formally the University of Western Sydney) ads around the August–September 2015 period to promote its rebranding.

" Similarly, Mike Weiss from Idolator wrote that "this project shows new facets of her wonderful instrument as she muses on matters of the heart over multi-layered, often mid-tempo production. In short, B7 is a mood. This is the kind of album that needs to be listened to from beginning to end (a couple of times), in order to fully appreciate the very personal journey that Brandy takes us on." In her review for The Observer, Kadish Morris was critical with Norwood's rapping effort on songs such as "High Heels" but praised the album's "familiar acrobatic vocals and sublime harmonies.

" Robert Cospey of Digital Spy said the track highlights Gaga "doing her best Janet Jackson impression, and she does it very well." The Guardian Michael Cragg described "Sexxx Dreams" as a "Vanity 6-esque strut", and dubbed it and "Do What U Want", "futuristic, electro-tooled R&B; slow jams with delicious choruses". Robbie Daw of Idolator called the "not so subtle" and "randy" song one of the album's "standouts", and recommended it for use as a single. MTV's John Walker said of the song, "There's something so goofily erotic about telling someone 'you were in my sex dreams.

Because it's Cher Lloyd who has the last laugh with another hit on her hands." X. Alexander of Idolator said "Instead of blasting us with that 'Swagger Jagger', she's coming at us with the uber-catchy 'Want U Back' — a good choice, since we haven't been able to get it out of our heads since we first heard it." Virgin Media's Matthew Horton wrote that the song has "dynamic catchy bounce." David Griffiths from 4Music praised the track, writing: "It might not sound a million miles away from Miley Cyrus' 'Party in the USA', but it's got Cher's stamp all over it.

The song received positive reviews from contemporary music critics. Ron Harris from the Associated Press wrote that the song "almost strays into disco territory with body-moving beat." He commented that the song "would not have been terribly out of place in 1979", while complimenting that the song is "fun and funky, which is the prime directive of Maroon 5." Robbie Daw from Idolator wrote a positive review, stating that "M5 are always best when they’re uptempo, so we’re happy to hear that the song falls in line with the band’s more danceable tracks like "Wake Up Call" and "Misery.

" Antonio has taken this potentially fatal turn because he despairs, not only over the loss of Bassanio in marriage but also because Bassanio cannot requite what Antonio feels for him. Antonio's frustrated devotion is a form of idolatry: the right to live is yielded for the sake of the loved one. There is one other such idolator in the play: Shylock himself. "Shylock, however unintentionally, did, in fact, hazard all for the sake of destroying the enemy he hated, and Antonio, however unthinkingly he signed the bond, hazarded all to secure the happiness of the man he loved.

" The Guardians Ben Beaumont-Thomas felt that "Perhaps [Minaj's] closest analogue is Eminem, someone else who plays with persona and sometimes lets their technical excellence do the heavy lifting rather than truly interesting lyrics." He applauded both Minaj and Eminem's verses, but was critical of Labrinth's "catchy chorus", which he found "not finessed into [Minaj's] verses." Mike Neid of Idolator summarized, "[Minaj and Eminem] established their chemistry on "Roman's Revenge", but ["Majesty"] is another strong offering (barring some questionable lines)." In a negative review, Ella Jukwey of The Independent wrote that "'Majesty' fails to live up the imposing title of the album.

The odd thing is that it was left in there. I mean if minimal is your bag, surely that'd be the first bit to cut?" He awarded in four out of five stars. Becky Bain of Idolator was also positive about the song, saying, "Lyrically and stylistically, it’s a pretty standard club track—over various synth beats, the song covers the usual topics: hot girls dancing, crowds waiting to have fun, and spending time in a five star suite with some five star freaks getting high all week... But honestly, we’re just overjoyed this song isn’t just a thinly-veiled four- minute commercial for any one of Diddy’s various products.

British model David Gandy (pictured) is Lopez's love interest in the video. The black-and-white music video starts with Lopez exclaiming, "I knew I had to leave the world behind me to find out who I was," as she wanders the Californian desert in "her finest couture gown," as noted by Mike Wass from Idolator. "I knew that love would never search for me, that I would have to search for it," she continues. It then cuts to the singer in an Issa De'mar plunging black bathing suit, as she writhes around on the ground in the desert, while a mysterious biker arrives in the desert in full motorcycle gear.

Upon its release, "Kiss Land" was met with widespread acclaim from music critics. Lauren Nostro from Complex complimented The Weeknd's growth as an artist, noting that he "continually refines" his "defined aesthetic", and noted that the track "boasts a bridge". Global Grind's Brittany Lewis described the song as "hypnotic", while Carl Williott of Idolator thought that the use of a woman's scream brought a "sinister lothario thing to absurd new heights". Rob Markman from MTV News felt that "Kiss Land" shared a similar structure to The Weeknd's previous tracks, but also suggested that the forthcoming release of Kiss Land will reveal "a lot more about music's mystery man".

Ed Easton, Jr. of WNOW-FM gave the song six and a half out of ten stars, calling it "average". Easton said, "This is a rare situation, where the song was more of a draw than the actual video." Becky Bain of Idolator said "We have to applaud Diddy for only throwing one shot to Ciroq vodka during his club scene with Drizzy, as opposed to using the entire video as a three-minute commercial to promote his brand." Bain was referring to Combs' February 2010 video for "Ciroc Star", which did not appear on the final track listing of Last Train to Paris.

Lewis Corner of Digital Spy called it "this summer's biggest anthem", awarding the song five stars out of five and writing that Brown delivers it "with effortless swagger". JusMusic of Singersroom described "Don't Wake Me Up" as a "fun and bubbly track", while a writer for Rap-Up labeled it as an "electrifying Top 40 record". Robbie Daw of Idolator complimented the song's production as a "strobe light thumper" and wrote that if listeners enjoy Brown's auto-tuned tracks, "then you won't be disappointed". Time's Melissa Locker viewed "Don't Wake Me Up" and "Turn Up the Music" as the only potential hits from Fortune.

Kisses received generally favorable reviews from music critics. Rachel Aroesti of The Guardian gave the album three out of five stars commending Anitta's personality in some of the songs such as "Banana" and claimed that it is an album "that feels more like a crowdpleasing sign of the times than a particularly thrilling proposition in its own right". Nick Levine of NME gave the album four out of five stars and commended it overall, by claiming it "creates a sleek and cohesive blend of reggaeton bops and aromatic, trap- flecked cuts". Mike Nied of Idolator considered the album to be Anitta's "most impressive feat to date".

Several tracks of the album were praised by music critics. Michael Love of Paper Magazine named "Poquito" as the best track of the album and described it "trap-inspired, bubbly, and sweetly seductive" which captives Anitta's essence into it. "Rosa" with Prince Royce was named as the album's best track by Raisa Bruner of Time, who believed the song "captures Anitta at her finest" and tells "a sensuous story". Mike Nied of Idolator complimented the track "Banana" with American singer Becky G by calling it "vibrant and playful", and also praised Anitta and Becky G's chemistry and the latter's "sassy" contributions to the track.

"Half of Me" is a chamber pop and R&B; song which lasts for a duration of three minutes and twelve seconds. The line "You saw me on the television" is a possible reference to her interview with Oprah Winfrey after her boyfriend, Chris Brown assaulted her. Christina Lee for Idolator thought that this is because of how Rihanna's popularity and personal life combined with her "paparazzi-documented interactions" with Brown has generated headlines and news stories around the world. Emeli Sandé performed this song during her 2013 and explained how her inspiration was taken from the riots throughout the United Kingdom in the Summer of 2011.

Mike Wass of Idolator gave it a mix review, writing it is "another inoffensive adventure that scores extra points for quoting lyrics from 'Lady Marmalade'", however it "lacks the big pop hook need to wreak havoc on the charts". Writing on behalf of The New York Times, Jon Caramanica called it "gauche and aesthetically vulgar in the way Ms. Aguilera once proudly was". Andrew Hampp of Billboard was mixed, writing that, "Sadly, the second-verse reference to 'Lady Marmalade' remains one of the few moments of fun on this otherwise tepid track". Sam Hine of Popjustice called it "pop filler" and "it prompts his headache to really kick in".

Andrew Hammp for Billboard was also positive toward the track, commenting that the song has an "epic" chorus that only increases in volume as the song progresses. In an extremely positive review, Glenn Gamboa of Newsday wrote that Aguilera and Shelton "empty their broken hearts in a magnificently sung breakup song". She also praised "Just a Fool" as Aguilera's career signature which should "stand next to 'Beautiful'". Mike Wass of Idolator called "Just a Fool" is a "gorgeous" country ballad, while Jon Caramanica of The New York Times described it as a "surprisingly warm duet" and Molly Lambert of Grantland named it "a monster-ballad".

Critical reception of the video was generally positive. Jenna Hally Rubenstein from MTV praised Shakira's appearance in the video, saying she looks "insanely en pointe" while "doing that ridic Shakira hip move nobody else can replicate ". Becky Bain from Idolator commented that the video is a "complete success" in case "the main draw of watching a Shakira video is to watch the Colombian singer swivel her honest hips around pretty backdrops while wearing revealing clothing". The video became immensely popular on video-sharing website YouTube, and was marked "Vevo Certified" by joint venture music video website Vevo for reaching more than 100 million views.

In a 2020 feature titled "Should Have Been Bigger" on the website Idolator, Mike Wass reflected on the song a decade calling it a "banger" and stating that it had obvious appeal with "[Rowland] preaching female empowerment over gargantuan club beats". Reviewing the song ten years later, Wass remarked that with "powerful lyrics to the soaring vocal and slick production, all elements came together perfectly." Wass noted that the song leaked ahead of its release at a time when songs "ran out of steam before their official release" and that "Commander" was "too clubby" for radio. He also noted that "the video was widely mocked".

" For Bianca Gracie of Idolator, the song "is a few notches above of its single predecessor" due to "the combination of dancehall flair and the continued trend of his 'come hither' laid-back vocals," considering it "one that has been unmatched this year." Michelles Geslani of Consequence of Sound applauded the collaboration with Skrillex and BloodPop, saying "the results are beyond promising. It's a chill number marked by warm island rhythms." Brennan Carley of Spin wrote that the song "starts with a tropical drum-n-bass situation before exploding into a glorious, neatly wound chorus," calling it "a subdued step forward for the Biebs.

Mike Wass from Idolator described the song as "admirably angry". The song begins with the lines "Are you proud of this since you ruined it?/ I'm so fucking tired of you/ So emotionless, something I can't fix/ And I'm just way too good for you" sung by Burns. During the chorus she sings "And I hate your tattoos and your hair and your car and your clothes/ And I hate when you're drinking 'cause that's when you fuck up the most/ And I hate that I gave you a chance when I know that you're not what I want/ And I can't sugarcoat it".

"Forgot to Laugh" was heard on October 4, 2012, via Idolator. It was then placed on Mendler's YouTube page the next day.Bridgit Mendler - Forgot to Laugh (Official Audio) Even without the song being released as a single, the song already received positive reviews, saying that the song "is a shiny, guitar-driven pop-rock anthem, loaded with witty metaphors that would give Taylor Swift a run for her money." and concluded that "the sharp songcraft is all the more impressive given that Mendler co-wrote the track herself." According to MTV, it was produced by Emanuel "Eman" Kiriakou and Evan "Kidd" Bogart, the same people who produced "Ready or Not".

" Gregory Robinson of The Guardian said that the track displayed significant evolution in Styles' sound and viewed the hook as his "catchiest [hook] to date." In her review for Time, Raisa Bruner listed "Adore You" as one of the five best songs of the week and deemed it as "timeless and friendly". MTV's Madeline Roth likened the song to Styles' previous single, "Watermelon Sugar" and wrote that the "funky, synthy new tune is a tale of lust and devotion." Mike Nied of Idolator commended the song's production and Styles' vocals while also appreciating the lyrical content, writing, "There's a stark beauty that shines through levels of desperation in the lyrics.

" Andrew Unterberger of Pop Dust also gave the song 3.5 stars, writing, "It's a good song, especially for the summer and it would have been just as good a song in the summers of 2002 or 1996. It won't get the group a lot of new, young fans, but old-school fans will doubtless be appreciative." Robbie Daw of Idolator agreed, calling it "amazingly bombastic, joyous reggae-rock track, which manages to sound like No Doubt in both 2012 and 1995." Robert Copsey of Digital Spy called it "a welcome return to their signature sound; thankfully it sounds as fresh as it did in their heyday.

Mike Nied of Idolator opined that the song could easily become Payne's "best track yet", writing that "the Latin-tinged crossover hit is sure to storm the charts across the globe and may become his most successful release to date". He also noted Payne's vocal of being "velvety" and "enticing", before praising the song's "internationally appealing production". Shanté Honeycutt of Billboard said, "upon first listen, [the song] induces flashbacks to Justin Timberlake's "Señorita" [...] as does the video," though she also considered Payne and Balvin "made a hit" all on their own. Rianne Houghton of Digital Spy regarded the song as "an excellent attempt at recreating 'Despacito'".

Mike Nied from Idolator called "Throw a Fit" a "brazen and brag-heavy anthem" and noted Tinashe's "divalicious attitude" in the song. Billboard's Sofia Mele described Tinashe's alter-ego "Nashe" as "an icy diva with attitude" and overall the song as a "bratty single", in reference to the alter-ego. Robyn Mowatt of Hypebae called "Throw a Fit" a song that Tinashe "flexes her bossy state of mind". James Rettig from Stereogum compares "Throw a Fit" and Tinashe's previous single "Like I Used To", "Where that ["Like I Used To"] song was a wistful remembrance of a past relationship, this one’s more of a flexing banger".

"We Wanna" was written by Ramon Ayala, Jacob Luttrell, Andreas Schuller and Thomas Troelsen, while being produced by Schuller and Troelsen. The song is an upbeat dance-pop recording inspired by 90s electro music and Paul Johnson's "Get Get Down" (1999); it makes use of saxophones. Lyrically, the track was described by music website Idolator to discuss on "letting your hair down and having a good time"; when interviewed, Stan confessed that its message is about "summer, partying and feeling good". Lasting three minutes and fifty-two seconds, it begins with Stan singing its chorus and the first strophe, following which she further provides vocals for the mainpart.

" During the song, she seeks reconciliation from a lover, and "relies on [sex] to smooth over a conflict," singing: "Mmm, do what you gotta do, keep me up all night." Julianne Shepherd of Billboard and Adam R. Holz of Plugged In also noted that the song has themes of sex. Patrick Ryan of USA Today noted that her "sultry, towering vocals call to mind past hits 'Take a Bow' and 'Cheers (Drink to That)'. Billboard Shepherd and Rolling Stone Brittany Spanos found similarities between "Kiss It Better" and Prince's "Purple Rain", with Bianca Gracie of Idolator agreeing, adding that it also resembles TLC's "Red Light Special".

Idolator echoed this, stating that Stripped became "the blueprint for divas making the transition from teen idol to adult pop star". Later that year, HuffPost noted that with Stripped, Aguilera led the charge at the beginning of the 21st century in influencing and introducing the next generation feminist rhetoric into pop culture. In 2018, the enduring impact of Stripped was noted by the Los Angeles Times and several other pop media outlets including Fuse, Genius and Vinyl with consensus; "Stripped proves as the blueprint for honest and raw female pop". The album was included in the book 1001 Albums You Must Hear Before You Die.

The song follows in the chord progression of Am-C-G-D Bieber provides lead vocals in the song while Smith provides the backing with rap interludes. The song is a "motivational track," containing inspirational lyrics, such as Bieber singing about a life filled with adversity, through lines like, "I never thought that I could walk through fire / I never thought that I could take the burn/ never had the strength to take it higher ". Idolator thought the song as a tween-friendly version of Eminem's "Lose Yourself." Smith's lines reference his father, and puns in the phrase, "raised by the power of Will".

Sam Lansky from Idolator wrote that "Come & Get in Trouble with Me" is "the finest summer dance-pop song that just missed the season, and practically a Kylie Minogue tribute (in the best possible way)." Lansky also noted that it features "a monster Guetta-style beat that leads into a huge pop chorus." Adam Bub from MusicFix described the track as a "disco stomper", while Brettney from Scoopla called it an "electro-infused anthemic pop gem." Take 40 Australia noted that "Come & Get in Trouble with Me" is "much more club ready" than Coulter's previous singles, and wrote that "her vocals are still showcased beautifully" in the song.

Critics compared "Fall Down" to Dr. Luke's collaborations with Kesha (pictured). "Fall Down" received generally negative reviews from music critics, who were disappointed with its overall production. Writing for AllMusic, Fred Thomas was displeased that featuring "big gun" Cyrus still resulted in a "manufactured disposable pop moment", and further elaborated that the song felt like one of #willpowers "interminable 15 tracks [that] were written in the studio moments before they were recorded." Sam Lansky from Idolator shared a similar sentiment, opining that Cyrus felt "mostly phoned- in" by comparison with the "emotional punch" Cyrus delivered on her collaboration with American rapper Snoop Lion, "Ashtrays and Heartbreaks".

So So Gay Magazine praised Trouble as an evolution from her previous album Perfectionist and stated that Kills "remains largely unknown and underrated; astonishing considering the quality of her two albums. She’s definitely some sort of anti-princess of pop." Writing for The New Zealand Herald, Paula Yeoman stated that pop listeners "should pay attention to" the album, to which she gave a rating of three and a half points out of five. Mike Wass of Idolator chose Trouble as his favourite album of 2013, while David Byrne and Tony Peregrin for Windy City Times said the album was one of 2013's "excellent efforts".

Kiesza first performed "No Enemiesz" at XOYO in London on June 4, 2014. In a review of the gig, Andre Paine of the London Evening Standard stated that Kiesza performed the song in a dance routine with muscular male dancers, in a sequence reminiscent of Madonna's "Vogue" (1990). The track was then reprised during Kiesza's date at the Santos Party House in New York City on July 23, 2014. Idolator reviewer Robbie Daw echoed Paine's comparison to "Vogue", opining, "In case anyone doubted her love of the '90s, the night got started with Kiesza and her two female dancers voguing (!) their way through energetic fan favorite 'No Enemiesz'".

Brittany Spanos of Rolling Stone found the lyrics to "compares a woman to the distilled liquor", as Mars tries to recreate the "magic" when they were together the last time. The recording's composition brought attention due to its similarities to the works of Michael Jackson. Martins of Spin stated that the track finds Mars channeling "the King of Pop with a markedly more reverent aplomb". Sam Lansky of Idolator concurred, writing that the artist is channeling "80's pop icon: Michael Jackson". Nevertheless, Lansky discovered "a little bit of Prince in there", as well, "but Mars’ vocals sound eerily like Jacko in his prime".

It has a chord progression of A–E–Fm–Cm. The lyrics are constructed in the verse–pre-chorus–chorus form; Lauren Jauregui sings the song's first verse characterizing her ideal companion, "I need somebody with some patience / 'Cause you know I got a temperament / And yeah, you got a reputation / Nothin' that a little love can't fix / There ain't no kinda situation / Where I wouldn't cross a line for you". While Normani Kordei sings the second verse, "You the type that I could bake for / 'Cause baby, you know how to take that cake". Mike Wass from Idolator considered Kordei's verse the "cheekiest part" of the song.

" The track that contains a cover was this jazzy-R&B; song "Caught Up in the Rapture", which was recorded by American R&B; singer Anita Baker that was included from her second album Rapture (1986). The song was written by Gary Glenn and Dianne Quander, while Da Internz handled the song's production. Idolator said the song "dissolves into glitchy loops" before transitioning into the next track, a cover of Phil Collins' song "Take Me Home". Time magazine called JoJo's version "a clear standout" on the EP, continuing calling it "all militant stomp buried under ambient noise; her voice soars and crashes over the glitchy, stuttering beat.

Mike Wass of Idolator described the song as "another irresistible, vaguely retro pop-anthem with a hands-in-the-air chorus and the kind of vocal harmonies that they perfected", and claimed that it would be a big song. Neil Z. Yeung of AllMusic praised "Chances", along with "Don't Go Breaking My Heart", stating that both songs are "some of Backstreet's finest, familiar in their delivery yet with a finger on the mainstream pulse of 2019", while Jon Dolan of Rolling Stone described it as "plaintively throbbing". In a mixed review, Josh Hurst of Flood Magazine referred to "Chances" as "slightly anthemic", but not jarring.

Robbie Daw of Idolator commented that although Rihanna wore only a leather jacket and visor, she failed to bring the same level of sexuality to the performance which American singer Prince would have evoked. To promote the song's release as a single in the UK, Rihanna made a recorded appearance on Alan Carr: Chatty Man on February 24, 2010, which was broadcast the following day. The singer wore a crop-top, "bizarre oversized" shorts, an "unusual" hairnet, and large, golden, hooped earrings. Rihanna also demonstrated the dance moves which are featured in the video, including the bogle, the butterfly, and the Dutty Wine, which she taught to the show's host.

"Me & the Rhythm" was described as a dance, disco, R&B;, and synthpop song, with an instrumentation consisting of deep house beats, steel drums, smoky synths and pulsating percussion. Its opening "pulsing beats" were compared to "1970s Donna Summer disco jams" by Samantha Schnurr of E! Online, while Zach Dionne of Fuse likened the song to Carly Rae Jepsen's album Emotion; Digital Spy's Lewis Corner felt the track had a "seductive '80s groove." Mike Wass of Idolator noted that the song is "the most obvious link between the 'Stars Dance' and 'Revival' eras," comparing it to Kylie Minogue circa Fever (especially "Come into My World"), and Body Talk-era Robyn.

" He found the song similar to "I Believe in You". Entertainment Weekly critic Adam Markovitz opined that "All the Lovers" was not a "full-on dance track production-wise", but predicted the song would attain "near- ubiquity in gyms, gay clubs, and clothing stores." Robbie Daw from Idolator felt its production stayed true to Minogue's roots, labelling the song "100% pure Kylie", and found it comparable to "I Believe in You." Daily Mirror critic Gavin Martin gave "All the Lovers" a four out of five rating and complimented the song's production and mixing, saying they "ensure Kylie's pint-size pop queen status is consolidated.

Idolator praised the record's instrumentation and "slinky" production, considering the song a "bold moment that is bound to put Jauregui on the right path" as she sounds "utterly at ease and highlights her compelling vocals", delivering "heaps" of personality. Time wrote that Jauregui "makes a soulful statement" in an "R&B; mixed with rock ‘n’ roll" song "that swings and sashays at Jauregui’s deliciously languorous pace" while her lyrical delivery has "plenty of punch". Newsweek called it a "sultry and honest" debut single. Earmilk regarded the song as a proclamation of Jauregui's "ability to stand on her own as both a singer and a songwriter".

Alexis Petridis of The Guardian said, "If you're going to do a five-minute song about cunnilingus, it's a good idea to enlist foul-mouthed rapper Nicki Minaj, whose bug-eyed contribution lends the proceedings an air of gripping abandon." Chris Ryan of MTV Buzzworthy called the song "sexually explicit, funky club pop", saying "In Nicki Minaj, Aguilera has found the perfect partner for her erotic-pop adventures". He also called the song a "dirtier cousin of Rihanna's 'Rude Boy' or 'Hollaback Girl'", and commended Minaj's verse. Becky Bain of Idolator said the song's "catchiness" was "miles ahead" of "Not Myself Tonight", also compared it to "Hollaback Girl".

Mike Wass of Idolator wrote that Perry "switches it up with a soft and sexy bop" after "delivering a double dose of emotional pure-pop" with her previous singles "Never Really Over" and "Small Talk". He also stated that the song is "a mid- tempo earworm" and a "refreshingly grown pop song" despite its "kitsch title". Conversely, Forbes magazine named "Harleys in Hawaii" the 7th worst song of 2019, calling it a "disaster coming from Perry" and said that the "regression from the indelible, confectionary hooks of Teenage Dream to her recent flurry of forgettable singles is one of the decade's greatest pop tragedies".

Tray Hova of Vibe magazine complimented the cover art of the single, stating that Beyoncé looks "resplendent as hell" on the cover and that "Nobody's complaining about Bey season here." Eleanor Young, in Marie Claire, described the cover art as "hideous". Ray Rogers of Billboard stated that Beyoncé "clearly transmits her trademark message of female empowerment". Becky Bain of Idolator described the cover as "pretty disappointing", and that, with a "ballistic, over-the-top club banger" song like "Run the World (Girls)", she expected something more than a body shot of Beyoncé, and criticized the cover for being confusing regarding the location of the photography.

The song received generally positive reviews from music critics. Rachel Sonis of Idolator named it a "massive floor-filler", while Bianca Gracie of the same publication noted that "there is a refreshingly somber tone that saves it from being too predictable." Amy Davidson of Digital Spy gave the single 4 out of 5 stars stating, "[W]ith her vocals shooting to the very perimeters of the track, 'Don't Be So Hard On Yourself' sees Glynne continue to wear her disco influences on her sleeve for a new take on the well-worn 'feel-good anthem'." Popjustice called it brilliant, praising its "great post-chorus and chorus" as well as its "strings".

Matt Medved of Billboard wrote the song "sounds like an instant classic," stating that it "[boasts] an earworm chorus and evocative verses like 'play that Blink-182 song that we beat to death in Tucson,' (one of Halsey's few solo verses), "Closer" captures the millennial zeitgeist in brilliantly infectious fashion." MTV journalist Deepa Lakshmin called the song "an upbeat, dance-worthy jam that deserves a spot on your summer playlist. It'll make you forget about all your pesky life problems and live in the moment." The song received a more mixed review from Idolator, with a consensus from various editors resulting in a 5/10 rating.

So, whatever happens, that would just be a funny logical progression." Jason Newman of Rolling Stone described the video as "perfect insanity" and added, "It's hard to pinpoint specifically what makes the video for DJ Snake and Lil Jon's 'Turn Down for What' so compelling and ripe for repeat viewings." Edwin Ortiz of Complex called it "incredibly absurd and awesome" and wrote, "The hard-hitting EDM record delivers an undeniable vibe that listeners can't help but mosh out to, and that's clearly evident in the accompanying music video." Writing for Idolator, Robbie Daw said the video "takes things to a whole new level of WTF-ness not quite seen before.

Other scenes include more neon bodypaint shots, and a new scene where she swings from a rope hanging from the ceiling, while wearing a sparkling black wig. The video ends with a shot of Kelis, in the bodypaint, saying "Scream". The treadmill scenes were filmed at the Wendling Estate and nearby Bacton Tower in London, UK. Other scenes were filmed in Ibiza, Spain. According to Digital Spy's Robert Copsey, the concept of the video was a simple one, "Kelis wearing various couture outfits", while Robbie Daw, from the music news website Idolator, later described the video as a collection of fashion snapshots and ensembles.

On January 4, 2013, the BBC announced that Haim had topped their annual Sound of 2013 music industry poll to find the most promising new musical acts for the coming year. The group also signed a management contract with the conglomerate Roc Nation, returned to South by SouthWest in March 2013 and earned their own "At Your Request" video feature on Idolator. In early 2013, they were featured on American recording artist Kid Cudi's third studio album Indicud, on the song titled "Red Eye". Danielle Haim appeared on the first track, "You're No Good", from Major Lazer's second album, Free the Universe, alongside Santigold, Vybz Kartel and Yasmin.

Choreography scenes are incorporated throughout the video between different retro-inspired and horror-theme sets, with one of them referring to the 1980 film The Shining as members Irene and Yeri reprised the Grady twins image. In several scenes, a Howliwood (a wordplay on the verb "howl" and the famous Hollywood billboard) sign can be seen up close in the background as well. Upon its release, the video received positive reacts from magazines and blogs such as Billboard, Idolator and Forbes. The "fun, creepy ascetic" video was regarded as a "B-movie schlock retrofitted to K-pop perfectionism", according to Forbes contributor Caitlin Kelley.

Following this, Avicii was rumored to have produced twelve additional recordings that subsequently leaked. The demo version of "Wash All Over Me" was considerably different from the reworked version, with Robbie Daw of Idolator finding the leak to have a "disco/house vibe" with "the constant presence of an acoustic guitar". In the album's early development stages, Madonna played a handful of unfinished demos to Kanye West, who later agreed to work with the singer on several tracks, including "Wash All Over Me". Rebel Heart was leaked online in its entirety on February 3, 2015, more than a month in advance to its scheduled release.

" Jamieson Cox of Time enthusiastically wrote that the song "could fit in neatly on the radio beside this year's British house-pop crossovers and Avicii's own 'Hey Brother'." Kathy Iandoli of Idolator praised Avicii and Blood Diamonds for "becom[ing] a divine pair for ['Devil Pray'] where you can hear both of their styles woven into the beat." Andy Gill of The Independent found that "Devil Pray" recalled "the career-apex achievements of 'Like a Prayer', while Gavin Haynes of NME opined that the song is "reminiscent of Lady Gaga's crazed 2013 dance tune 'Aura'." Madonna performing "Devil Pray" during the Rebel Heart Tour.

In concurrence, Alexandra Pollard of The Independent gave the album three stars out of five, deeming it "an accomplished, coherent record, with moments of ecstasy and others of pathos" but concluding that it "never quite gets out from beneath the shadow of half a decade of behemothic bangers". Idolator listed Rare among the 20 best pop albums of 2020, for being an "extraordinarily accomplished pop album that tackles serious issues like self worth and mental health" while complimenting "Lose You to Love Me" as a "Grammy-worthy ballad"; the tracks "Vulnerable", "Ring", "People You Know" and "A Sweeter Place" were highlighted as the "delights" from the album.

Christina Lee of Uproxx wrote that Michaels "manages to summarize the entire Fifty Shades franchise in just two lines: 'They say all good boys go to heaven / but bad boys bring heaven to you'". Sam Damshenas of Gay Times described it as a "hauntingly addictive track" in which "Julia reminisce on a past lover". Mike Nied of Idolator regarded the song as "a sparse and sexy ode to bad boys", writing that "it offers the budding superstar an opportunity to explore a moodier aesthetic". He felt the song of being a bit risky "considering her tendency toward contemplative bops like 'Issues,' but it more than pays off".

"Big Time Sensuality" was deemed as a highlight of Debut and was praised by critics. Sean McCarthy of the Daily Vault defined the track as "insanely addictive" while Vox journalist Lucy O'Brien called it "saucy". John Hamilton from Idolator wrote that "this dancefloor monster resembles the soulful American house sounds of Crystal Waters and Ultra Nate in its original album mix, but for the single, it was revamped into a storming trance jam by remix duo Fluke." Simon Reynolds of The New York Times stated that "the sultry Big Time Sensuality has her vaulting from chesty growls to hyperventilating harmonies so piercing she sounds as if she’s inhaled helium".

Idolator named it the best music video of 2019; Mike Nied said it showed Madonna was still capable of "creating work that is both visually striking and capable of speaking to larger cultural issues". Shannon Watts, who founded Moms Demand Action, thanked Madonna for raising awareness about the horrors of gun violence. Actor George Takei, who set up the anti-gun group 1Pulse4America after the Orlando shooting, and March for Our Lives, the lobby group founded after the Stoneman Douglas High School shooting, were among those who praised the singer and the video. Patience Carter, survivor of the Orlando shooting, tweeted: "I applaud the attempt, but I am truly disturbed".

Jessica Sager from PopCrush gave the song 4.5 out of 5 stars, praising the group's vocals as having "a hefty dose of soul that many of their Top 40 contemporaries, most of whom are a lot older than they are, lack." Christina Lee, from Idolator called the song "explosive". Lee also noted the equal distribution in vocals, saying the group "exchanged the vocals in a way that each member is heard, but in subtle and unexpected ways". In a positive review, Jenna Rubenstein wrote on the MTV blog that "we effing loving it" and also complimented the single's "shiny, polished pop beat" and lyrics.

He also guest-starred as Lt. Josh McGraw in season 2, episode 4, "The Idolator" of 12 O'Clock High. Shortly afterwards, Lockwood starred in another NBC television series The Kraft Mystery Theater (also known as Crisis) in an episode titled "Connery's Hands". He was cast opposite Sally Kellerman, with whom he would soon appear again as Helmsman Gary Mitchell in the second Star Trek pilot "Where No Man Has Gone Before" (1965) in which their characters develop god-like powers. In 1966, Lockwood guest starred as Clint Bethard in the episode "Reunion" of ABC's The Legend of Jesse James, starring Christopher Jones in the title role of Jesse James.

The song opens with "methodical strings" mixed with "quadruplets, floppy and fuzz wind in the opening bars", along with synths and a piano as Mars' vocal delivery "soars". The music progresses with a "thumping martial beat" on the percussion of the "heavy drums", reminding "Phil Spector –esque tom-toms", and they "counterpoint to the ascendant melody" with "bits of electro" fading in the background. The chorus would fit in a "60's girl group" due to the join forces of Mars' "retro crooner sensibilities with modern sonic flourishes". Carl Williot of Idolator noted that the "delicate but dynamic production" on "Young Girls" is reminiscent of Lana Del Rey.

Mike Wass of Idolator described the song as a "bone-rattling floorfiller with the most forward-thinking production of the era thus far. This is all about the enduring diva's fierce vocals and the hardest beat to grace a Latin-pop song since 'Mi Gente'." Michael Love Michael, writing for Paper magazine, praised the track's "sound-the-alarm production" and described Lopez's delivery as "characteristically fierce". Rolling Stone writer Suzy Exposito noted, "J.Lo’s latest streak of Spanish- language singles is crowned by the baile funk-infused track", describing "El Anillo" as "quite the bounce-back" from Lopez's "ballad-heavy" first Spanish album, Como Ama una Mujer (2007).

In an interview with Idolator, Dev elaborated on the video's concept, stating that she wanted a dark feel similar to Tim Burton's Alice in Wonderland: "I wanted the video to be sexy as well. I wanted it to reflect all the dark aspects of the song, and initially we went in thinking that we'd have an Alice in Wonderland/Tim Burton type of feel." In the video, Dev is seen in a club scene with intense dancing. The main focus is black-painted hands and arms, which are prominent in several shots of Dev as she is standing naked while the hands are touching her body.

One Direction performing "Moments" in Toronto, February 2012. One Direction performed the song on three of their major concert tours: Up All Night Tour (2011–12), Take Me Home Tour (2013) & Where We Are Tour (2014). Idolator editor Mike Wass felt the vocal ensemble performed a "rousing rendition" of the song at Sydney's Hordern Pavilion and noted, "Louis [Tomlinson] described it as his favourite song on Up All Night and he's not alone in that opinion if the swooning girls in the audience are any indication". Herald Sun writer Cameron Adams opined that the performance of "Moments" at Melbourne's Hisense Arena showcased the group's "strong pop voices".

"The Way You Love Me" is an R&B-dance-pop; song which displays influences of electro, and rock music. It features a "squealing" synth, a banging fast-paced beat, screaming, rough as well as at times hoarse vocals and blaring sonics. According to the staff members of Idolator, the beat in the background is augmented by hand-claps similar to that of "Single Ladies (Put a Ring on It)" (2008) by Beyoncé Knowles, most noticeable toward the end. According to a press release by Interscope Records, the song's lyrics make reference to a "raw infectious club-thumping message to female empowerment" and about being in a committed relationship.

He felt that it "leans a lot more pop than electro", which makes the song more appealing to a broader variety of listeners. Regarding the song "an easy-to-love electronic smash" and "a slightly reductive mix" of "Stay" and "Starving", he noted that it is "not entirely original" due to its "reminiscence of what the musicians have delivered before". Similarly, Madeline Roth of MTV News called the song "a poppy earworm" and a combination of "Stay" and "Starving", which is "catchy as hell and practically destined for radio domination". Mike Nied of Idolator wrote that the song "blends elements of country and EDM" and praised Morris for providing "impassioned vocals".

He added that the show was a "dazzling rebuttal" to all negative chatter revolving 4. Moody concluded, "She put her track record up for display along with her new material with a subtle but undeniable message that she is not to be doubted, or counted against." Mike Wass of Idolator began his review by writing that "Beyonce never fails to amaze." He continued to praise her for "raising the bar for live entertainment with a flawless display", further writing, "The worldly pop icon's ability to bring new depth and texture to quality material is almost as impressive as her uncanny knack for connecting with the audience on an emotional level".

Chris Malone of Billboard felt the song "opens with a slinky bassline 'Attention'", and features a catchy chorus. He thinks that the song "marks a slight stylistic shift from the more straight forward pop sound that filled his debut album Nine Track Mind", and that Puth took "the funkier R&B-leaning; direction" with "How Long". James Dinh of iHeartRadio deemed it "a fitting follow-up to 'Attention' as the 25-year-old tackles yet another vulnerable narrative from the romance department", and expects it to enter top 10 on Billboard Hot 100. Mike Wass of Idolator wrote that the song "picks up where 'Attention' left off".

But as Rihanna could tell her, sometimes bad years make great songs." Becky Brain of Idolator wrote Lovato has a "killer voice and the A-list material to put it to good use", adding, "It's difficult for many young female pop stars to transition successfully from squeaky-clean Disney kid to respected adult recording artist. But so far, Demi's doing a spectacular job, and she's doing it without having to show some skin or sing about hooking up in a club." Absolute Punk scored the album 81 out of 100, summarizing it by saying: "Nothing, and nobody, is broken beyond repair, and Unbroken showcases that beautifully.

Patrick Ryan of USA Today praised the "stripped-back arrangements" for emphasizing Pink's abilities as a singer-songwriter, and observed the album's theme gravitates towards "her tumultuous relationship with Hart" and "achingly relatable anecdotes" about marriage, family, and maturing. Mike Nied of Idolator called it an album of "striding anthems" with strong pop productions and relatable lyrics. Louise Bruton of The Irish Times shared a similar sentiment, pointing out Pink's consistent release of "relatable pop songs" throughout her career. Chuck Arnold of Entertainment Weekly commended the album's "fresh and familiar" sound and compared the theme of "brutal truths about love" with The Truth About Love.

Billboards Gil Kaufman: "It's the perfect shot of Celtic-tinged gothic balladry for fans of Lee's band". Vanessa Vallon, writing for the website AXS noted that "Speak to Me" served as a demonstration by Lee of her "versatility"; she further described her vocal performance on the song as "gorgeously plead[ing]". Mike Wass from the music blog Idolator, deemed the song to be "strikingly beautiful" and noted how it "evokes the gothic drama and emotional intimacy of 'My Immortal'". Music Week journalist Ben Homewood felt that it would be an understatement to say that the song's usage in the trailer for the movie "heightens the drama on display".

Bianca Gracie from Idolator website gave a positive review for the song, stating that on the current "haze of over-produc[ed songs], it's actually quite refreshing", and emphasising that Cheryl's vocals "shine" in the song. Matthew Horton, while reviewing Only Human during its week of release for Virgin Media, commented that "the utterly addictive bounce of new single I Don't Care is an equally striking departure [from her previous releases], and not just because she's swearing her head off", in relation to its lyrics. Popjustice rated it eight stars, out of ten. EntertainmentWise website noted that "I Don't Care" was a particular highlight from the album.

"Bottled Up" received both positive and negative feedback; the latter was mostly because of the song's sound, which was very similar to that of Fifth Harmony's. Thomas Bleech said that the "chorus was way too simple" and that "not even a guest rap verse from Ty Dolla $ign could save this song and make it somewhat likeable or commercially ready." Mike Neid from Idolator said that "Jane gets a little flirty" and "she and Marc E. Bassy need a little coaxing to open up about their feelings." Matt Gehring from MTV said that they "loved the 'Work from Home and 'Worth It' references" and that they're "ready for a hit maker".

Chris Urankar from InStyle magazine described the song as a "summery, radio-ready anthem", while Take 40 Australia called it "an awesome party anthem!." A writer from MusicFix complimented "Pop a Bottle (Fill Me Up)" as a "fun weekend jam" and predicted the song to be another hit for Mauboy. Mike Wass from Idolator wrote that the track "feels like an even better fit" for Mauboy than her previous single "To the End of the Earth". Shayne of Flopstar Reviews described "Pop a Bottle (Fill Me Up)" as "a bland but pleasant jam" and felt that it was reminiscent of One Direction and Katy Perry's pop rock style.

Billboard's Tatiana Cirisano called the song's music video "psychedelic" and also said that "the song's not just for kids [...] Listen through, and you'll find an electro-pop bop with a worthy message of empowerment and self-love." Ws Kyle Munzenrieder stated that "while [it] is all very silly, Cher turns it into a genuine bop, because such is the power of Cher." Michael Cuby from Paper magazine noted that "Cher's latest song is unexpected [...], but no doubt attention-grabbing" while adding that "of course, it's all brilliant." Writing for Idolator, Mike Wass felt that " Cher is the only diva that could get away with releasing a track called 'Ooga Boo'".

I say focus on getting the movie career back on track..." Becky Bain of Idolator was more positive of the song saying she "actually forgot Lopez is still considered a singer, what with her two-year hiatus to focus on all her fragrances and clothing lines and babies and such. It's nice to have her back—yes, not every J-Lo song was a hit, but we all danced to 'If You Had My Love' and 'Waiting for Tonight' back in the day. 'Louboutins' ... definitely has the catchiest chorus she's had in years. This could actually bring Jennifer out of the pit her last album Brave dug her into.

"I'm in Love with a Monster" received mostly positive responses, with several critics noting a similarity between the musical style of 1960's all-female group The Supremes. Robbie Daw, from Idolator pointed out the resemblance to 1960s girl groups, such as the Supremes, and said, "Fifth Harmony's vocal ability shine brightly." In a positive review, Joseph Earp of Renowned for Sound said that the song is a "testament" to the group's "myriad of skills" in which it does not feel like a "movie cash in". He elaborates by stating that this was "as rich and deep" as anything the group has ever released.

" Gary Graff of the same publication wrote that "Stefani's Madonna reverence remains intact" on the song, with J. Freedom du Lac from The Washington Post agreeing, noting a "Madonnaism" on the track. Amanda Murray of Sputnikmusic also thought that the song "recalls a 'Crazy for You'-era Madonna", also noting that it is "pure Stefani—and understandably, [it's] far superior to any of her attempts at mimicking other artists." Norman Mayers of Prefix magazine wrote that the song "soar[s] thanks to Stefani's girlish vocals and brilliant hook that reference iconic moments from Madonna and Tears for Fears." Bianca Gracie of Idolator called it "a breezy yet emotive '80s-ballad that highlights her tender vocals.

" Joe Pasmore of Attitude picked it as a highlight, declaring that "while sharing Britney's nostalgic flare, [it] boast[s] modern production which brings the track firmly into 2016." Josh Duboff of Vanity Fair named it "a slinky, catchy jam", Jonathan Riggs of Idolator labeled it "reggae-licious", while Neil McCormick of The Daily Telegraph called it "effervescently catchy" and "a gem of slinky TLC." Stephen Thomas Erlewine of AllMusic cited "Slumber Party" as a "heavy- breathing come-on that never manage[s] to seem sexy despite the flood of innuendo." Writing for Drowned In Sound, Russell Warfield opined that the song "has a shot of being Britney's first bona fide hit since 'Womanizer' (2008).

With over 1.8 billion views, it is now one of the 70 most viewed YouTube videos of all time and the second-most watched YouTube video by a girl group, being overtaken at the number one spot for most watched video with "Work from Home", which was released a nearly a year later. Critics were positively receptive of the video, some calling the visuals "sexy" and commending the message of female empowerment that is the group executes. In a positive review, MTV called it "surprisingly sexy" and compared the office look of the video to Fifty Shades of Grey. Christina Lee from Idolator praised the video for putting women in position of power.

" Jozen Cummings of The Wall Street Journal commented that "when [Knowles] went up-tempo on songs like 'Countdown', her virtuosic ability to engage in crisp choreography without cracking her huge voice took center stage." Echoing Cummings' sentiments, Mike Wass of Idolator added that "as great as those two tracks sounded live, 'Countdown' and 'End Of Time' garnered the most applause. Both were accompanied by brilliant dance routines and boast sing-a-long choruses." Jocelyn Vena of MTV News concluded that "it was [Knowles'] ability to throw a party during faster jams like 'Party', 'Countdown', 'End of Time' and 'Run the World (Girls)' that put on full display her range as a performer, dancing and singing live the entire night.

" Jim Farber of the New York Daily News commented "the star doubles down on her love of 'fancy' (read: gimmicky) hooks, pitting a shrill beat, a lion's roar and a nagging synth against one another for attention." Mike Wass of Idolator, while reviewing Reclassified, said that, "Of the trio of fuck-you anthems, 'Iggy SZN' is the most light-hearted and upbeat. It showcases Iggy's knack for memorable quips – 'what they make in a year, I can make in a week' – and The Invisible Men's ability to deliver crazy beats." Rory Cashin of State added that the song is "built on hand claps and a deep electronic buzz, which will sound great in a high tempo Zumba class.

Jim Farber for New York Daily News wrote that Unapologetic contains more ballads than what Rihanna's previous albums have featured, and further noted that "Half of Me" "proves the star can be as evocative as she is provocative". Christina Lee of website Idolator wrote that there are two songs on the album which show "how ubiquitous she's [Rihanna] become", "Love Without Tragedy / Mother Mary" and "Half of Me". A reviewer for Billboard was surprised at how many "heartfelt ballads" are included on the album, and listed "Half of Me" as one of the examples. Michael Gallucci for PopCrush wrote that "Half of Me", along with "Pour It Up", are songs for the "haters".

Popjustice writer Same Hine enjoyed the track and said that he liked it "when Christina gets a bit wobbly and the bubblegum melody sounds oddly good with the lyrics", although it wasn't "her finest pop moment". Mike Wass from Idolator wrote that the song "sounds like fluffiest Nine Inch Nails song ever recorded", also commenting it as "a total trainwreck, but there's something amusing about Xtina putting her haters in their place". Joseph R. Atilano of Inquirer Entertainment praised "Circles" as one of the catchiest songs of the album and compared the track to songs by Rihanna and Nicki Minaj. Kitty Empire of The Observer commented that the "sing-song verse is redolent of Rihanna".

" The magazine later included the song in its list of "The Greatest Rock & Roll Christmas Songs", describing it favorably as a follow-up to "Christmas in Hollis", a similarly themed Christmas song by hip-hop group Run-D.M.C. In his description of the track, Andy Greene of Rolling Stone wrote: "It's only been out for a year, but Kanye West's follow-up to Run-D.M.C.'s 'Christmas in Hollis' is already a classic. With help from Teyana Taylor, Cam'Ron, Jim Jones and Pusha T, West paints a vivid and cheerful portrait of the season." Becky Bain of Idolator wrote of the track: "Soulful, sweet and sprightly, it's one of the most joyful tracks we’ve heard from Kanye .

"Shut Up and Dance" is a pop rock, power pop, synth rock, and yacht rock song that is driven by synthesizer and dance grooves. It incorporates production that is reminiscent of the 1980s, with gated ambience added to the drums, sheeny synth pads, reversed snare 'whooshes', and stadium- sized reverb and delay effects. Steve Baltin and Shirley Halperin of Billboard called the song a "new-wave throwback", while Rolling Stones Brittany Spanos referred to it as "a Killers-style update on Eighties pop hits" such as "And We Danced" (1985) by the Hooters. Mike Wass of Idolator saw the song as "tapping into a '80s rock sound" similar to the band Bleachers.

Upon the song's release, Mike Wass of Idolator said "Shut Up and Dance" is "pretty irresistible" with its "monstrous chorus and a plethora of hooks". Billboards Ryan Reed gave the song a four and a half stars out of five, mentioning how Petricca's vocal runs are "catchier than most bands' choruses". AbsolutePunks Anthony Sorendino wrote that the track is not "a cookie cutter chorus rigged to a cheap set of verses" and that the chord progression is what sells it. AllMusic's James Christopher Monger described the song as a "pulsing, closing credits-ready anthem that oozes upbeat millennial enthusiasm" while having "just enough angst to evoke a Breakfast Club post-lunch therapy session".

Becky Bain of the website Idolator described Lopez as Flo Rida's "perfect party companion", while Robert Copsey of Digital Spy said Flo Rida had "Lopez painstakingly linking candy with G-spots" on the song. While reviewing the album Wild Ones, Melissa Maerz from Entertainment Weekly said "Beneath the onslaught of house beats" guests such as Lopez "sound like they've auditioned for the nameless, faceless role of Hook-Singing Female". Jenna Hally Rubenstein of MTV Buzzworthy likened Lopez's vocals to that of Britney Spears, and said "Unfortunately, Flo's verse kinda sorta definitely sounds a little indistinguishable from other verses". Katherine St Asaph of PopDust felt that "Sweet Spot" was "a million times better" than the pair's previous collaboration, "Goin' In".

Anderson Jones from Entertainment Weekly called it a number "that has set disco balls spinning across Europe". Dave Sholin from the Gavin Report commented that "excitement about this uptempo winner is spreading fast and one listen should explain why." John Hamilton from Idolator noted the song as "a confident pop-soul kiss-off", adding that "its funky sax and Small’s pissed-off vocals combined to create nothing short of a club classic, one that provided ample opportunity for gay and straight clubbers alike to bust a move on dancefloors across the nation." Australian music channel Max placed "Moving On Up" at number 565 in their list of "1000 Greatest Songs of All Time" in 2011.

In early 2007, it was reported that Madonna was recording songs with American singer-songwriter Justin Timberlake for her upcoming album. Later, it was also announced that record producers Timbaland and Pharrell Williams were working with her on the album, and Timbaland confirmed that a song titled "Candy Shop" was being produced by Williams. A month later, a song called "The Beat Goes On", featuring Madonna's vocals and production by Williams, leaked online. The song started with Madonna saying, "Let's do something different, let's change things up," followed by DFA handclaps and cowbells, Bee Gees-like falsettos on the chorus and "Williams background interjections sprinkled throughout the track," as noted by Maura Johnson from Idolator.

Williams' production team, The Neptunes, produced the track, with Madonna. The song was written by Madonna and Williams, with rap vocals by West, and the title is a reference to The Whispers' disco track "And the Beat Goes On" (1980). "Beat Goes On" is a disco song, with funk and hip-hop influences, drum beat and bell chimes, as well as Williams' shimmering, thumping production, which according to Bradley Stern from Idolator, "offers Madonna the perfect groove to wax bombastic about the cathartic pleasures of dancing." Lyrically, "Beat Goes On" is a song about the freedom to dance, where people are urged to say whatever they like and do whatever they feel.

Sasha Geffen from MTV News noted Gaga's eyes rolling back in her head as she moshes with the crowd in the clip and "at one point she almost rips the head off of [Parker]". Similar thoughts were echoed in Lara Walsh's review of the clip for InStyle, where she fawned about being a "big fan" of Gaga's "raw appearance" in the video. Writing for the Idolator, Mike Wass noted that the cover artwork gives one a clear idea regarding what to expect from the video, seeing that it "reinvents Gaga as a rockstar" and the "epilepsy induced editing brings the whole thing to life". However he missed the theatricality associated with the singer's previous videos.

Xavi Sancho from El País wrote that the Batukadeiras Orchestra gives "a martial rhythm to something that could be a mix between Gwen Stefani and Carlinhos Brown and that ends in something, again, fresh and rich". Mike Wass of Idolator commented that the song successfully "combines a choir, African instruments and a Portuguese drum collective", while calling it "dynamic and utterly compelling". Sean Maunier from Metro Weekly opined that the song "may be the greatest departure for Madonna", and that her accompanied by the "all-women Batukadeiras Orchestra, produc[es] an absolutely otherworldly effect". Kristi Kates of the Northern Express newspaper said that fans would appreciate songs like "Batuka" on the album.

" Jenna Rubenstein of MTV praised Grande's performance in the song writing "her breezy vocals and twinkling melisma lay perfectly over the swirling track." Kevin Goddarg of the HotNewHipHop felt that "Right There" was a "fine addition to the growing" body of work that Grande had been developing since "stepping foot in the game." Carl Williot of Idolator described "Right There" as "another bouncy pop-rap marriage" and further appreciated its retro feeling while commented that it is written in the vein of her Mac Miller collaboration "The Way". Williot added that Grande shows off her range once again, all with some "Mariah Carey-inspired runs and vocal melodies coming from all angles.

Tim Sendra of Allmusic said that the song was "well sung" and noted it as one of the top tracks on the album. Becky Bain of Idolator said the song had an "infectious tune", and said "might actually be the song to get the non-Disney-centric demographic interested in Selena's tunes." Although commenting that the "glossy electro-pop rock" of the song showed a sophisticated side of Gomez, and the lyrics showed emotional growth, Robert Cospey of Digital Spy said the good work was squandered by the "rusty" chorus. Overall, Copsey complimented Gomez for "avoiding the predictable Hilary/Miley teen-rawk route" and recommended she stay under the Disney umbrella to "perfect her craft further".

Complexs Jessie Morris wrote that the music video "leans into the singer's habits for passion and pain as it scopes across the explosive relationships between couples against the background of a desolate beach". Carl Williot of Idolator described it from an emotional standpoint as "simple and effective", while Jonathan Hamard and Yohann Ruelle from French website Pure Charts stated that the video had "a beautiful message for a romantic accomplishment". Writing for The Line of Best Fit, Laurence Day said that the visual was "emotionally explosive", while the staff of Capital FM felt it was a "raw, emotion-filled video". Some critics also praised the clip for its support towards the LGBTQ community.

"Mercy" received mostly positive reviews from music critics. Idolator stated that the track "falls somewhere in the middle of the pack among West's previous G.O.O.D. Friday singles – it's nowhere near as much fun as "Good Friday" or as seductive as "Devil in a New Dress". Amy Sciarretto of Popcrush stated that the track was "great", and that "even with four rappers laying down verses on the song, it's a compact, tightly constructed tune that feels like a series of freestyle raps that flow into one another flawlessly." Corban Goble of Stereogum mused that the song "is a giant, lurching thing where the rappers trade bravado-filled verses around a syrup- music inspired hook.

On July 1, a lyric video was released for the single, described as "suitably righteous" for the "gospel- tinged soul ballad" by Mike Wass of Idolator who also commented that "it’s a simple concept with a stylish, content-appropriate color scheme but the clip really excels when it emphasizes the song’s inspirational message". Wass also affectionately dubbed Williams the "new Queen of social media". On July 30, 2013, Williams revealed on Instagram that shooting of the music video would commence on August 1, 2013. On September 3, 2013 a Derek Blanks-directed music video was premiered via YouTube and features appearances from the song's producer, Harmony Samuels and also former Destiny's Child member, LeToya Luckett.

In 2013, Wilkinson began work on a new project in New York City with Autre Ne Veut producer Joel Ford. Returning to Australia as MLHLND, Wilkinson quickly signed a record deal with Personal Best Records and began releasing music. In October 2014, MLHLND released "Pretty", a soft single, to introduce himself as an artist and tease the upcoming release of his debut single. MLHLND's debut single "Clothes Off" was released on 28 November 2014 to high critical acclaim. Mike Wass of Idolator called the track "a steamy bedroom romp", comparing MLHLND to an 80's Prince as he "really occupies an entirely new space with his dreamy synths, R&B-influenced; vocal style and bold pop sensibility".

Rob Copsey of Official Charts Company wrote that the song "sounds like summer", "sees Icona Pop sticking to what they know best, i.e, great, big, stomping neon pop, albeit with a deep/tropical house edge to it this time out" and "ends in such an abrupt way that you'll want to put it straight back on." Similarly, Raisa Bruner of Time magazine also noted it "sounds like summer" and regarded the song as "a club-ready groove mixing their signature singalong choruses with a tropical house edge". Mike Wass of Idolator said that the song is "a soaring tune" and "a club-ready, pop-centric party anthem that really should be blasting out of every radio over the summer".

Glenn Gamboa of Newsday gave Meaning of Life a four-star rating. Praising it as the best album of Clarkson's career, he wrote that it presented a "chance to declare her ambitions and deliver on them" for her "most cohesive album yet". The Boston Globe correspondent Isaac Feldberg commented that Clarkson "has perhaps never sounded as confident or comfortable as she does" on the album, and that she "channels her delight at [her] newfound freedom into songs that, while signaling a new stage in her career, appear to flow directly from both her heart and soul." Mike Nied of Idolator shared a similar sentiment, saying that "returning to her roots had truly opened a wealth of opportunities" for Clarkson.

The group has received praise from music blogs such as BrooklynVegan, Vice/Thump, Idolator and Stereogum. In 2014, Urban Cone collaborated with Porter Robinson on his song "Lionhearted". Their next single, "Sadness Disease" was released on October 7 and described by Billboard as “uplifting at first, but the lyrics are an even deeper dive into sadness, loneliness and exhaustion”. “We write music in an attempt to create sunshine. It’s a reactionary impulse to create light out of the darkness. If you listen to the lyrics, they’re quite dark. It’s serious music that’s made for dancing,” Flyckt said of the song. Urban Cone released their second album, Polaroid Memories, on April 29, 2015.

Reception to the song upon the release of the "Superheroes" single has been generally positive. National American daily newspaper USA Today named the track as "song of the week" on 22 July 2014, with music critic Brian Mansfield writing "The Script continues to display its biggest strength: making pop music with heart and power". Rachel Sonis of music website Idolator wrote "Superheroes is a self-proclaimed "ultra-catchy" tune that, after a few spins, definitely lives up to that description". Kevin, editor-in-chief of Spin Media website Direct Lyrics commented positively on the song, stating "there is no way The Script aren't reaching #1 with this", further describing it as "epic in every way".

I'm happy being in No Doubt." However, after an appearance during Pharrell Williams' performance at the 2014 Coachella Valley Music and Arts Festival, Pharrell teased that the rare live appearance from Stefani was the start of a comeback effort for the singer. In July 2014, during an interview for Idolator, record producer Diplo announced that he had produced some songs for her new album. In September, during an interview for MTV News during New York Fashion Week, she confirmed to be working on a solo album and a No Doubt album, stating, "I'm going into the studio tonight with Pharrell [Williams], I'm going to be writing and also just seeing what comes along my way.

" Schwartz praised the song's lyrics as well, describing them as "beautifully phrased," and calling Carey's voice "gorgeous" and "sincere." Kyle Anderson from MTV labeled the track "a majestic anthem full of chimes, sleigh bells, doo-wop flourishes, sweeping strings and one of the most dynamic and clean vocal performances of Carey's career". While reviewing the 2009 remix version, Becky Bain from Idolator called the song a "timeless classic" and wrote, "We love the original song to pieces—we blast it while decorating our Christmas tree and lighting our Menorah." Shona Craven of Scotland's The Herald, said, "[it's] a song of optimism and joy that maybe, just maybe, hints at the real meaning of Christmas.

"I Know You" received acclaim from music critics. Bianca Gracie from Idolator called the song "a beautiful ballad with soaring strings and luxurious-sounding percussion". Carolyn Menyes from Music Times called the song "emotional" describing "I Know You" as "a mid-tempo piano ballad with a pulsing beat, yearning lyrics and dripping, high vocals". Hayley Spencer from InStyle wrote "[the song] is a haunting piano ballad about convincing your lover to let go of the past and fully commit". Nolan Feeney of Time called the song "moody, though somewhat less depressing" saying that the song lyrics resemble things Anastasia Steele (Dakota Johnson) probably whispers longingly to Christian Grey (Jamie Dornan) when they aren’t exploring their kinky sides.

Goulding's vocal range spans from D4 to D5. It is an electropop and R&B; song, with its instrumentation consisting in scratchy guitar, slapped beats, trap drums and sharp, syncopated electronica, which according to Idolator Bianca Gracie, "gladly strays away from the rush of breezy synths that is currently ruling the genre." Matthew Norton of NME described it as "hyperactive, insistent R&B; with a bit of Rihanna in the 'eh's", while Steven J. Horowitz of Billboard and Maeve McDermott of USA Today both perceived that its "wangy guitars" resemble The Police's "Message in a Bottle". During the song, Goulding takes a "plain-speaking" approach, while towards the end she goes in a "conciliatory" direction.

According to Mike Wass of Idolator, it "captures the feeling of defeat when you have ruined a good thing and don't know quite how". The album's eleventh track is "Love Me Anyway", a country ballad which features Chris Stapleton. It portrays the act of commitment in a relationship and the obstacles which may occur, with lyrics such as the opening lines, "Even if you see my scars, even if I break your heart/ If we're a million miles apart, do you think you'd walk away?" Maura Johnston of Entertainment Weekly called Pink's vocals "roughhewn", while Sean Maunier of Metro Weekly felt the duet worked because Stapleton's voice is "fading into the background".

Echoing Cummings' sentiments, Mike Wass of Idolator added that "as great as those two tracks sounded live, 'Countdown' and 'End Of Time' garnered the most applause. Both were accompanied by brilliant dance routines and boast sing-a-long choruses." Joycelyn Vena of MTV News concluded that "it was [Knowles'] ability to throw a party during faster jams like 'Party', 'Countdown', 'End of Time' and 'Run the World (Girls)' that put on full display her range as a performer, dancing and singing live the entire night." During the ITV special A Night with Beyoncé which aired on December 4, 2011 in the United Kingdom, Knowles performed "End of Time" to a selected crowd of fans.

Mike Wass of Idolator said that as the lead single for Jepsen's fourth studio album, it is "likely to cement her status as the hipster's guilty pleasure with a collection of cute, clever and slightly offbeat bops". A number of critics noted references to masturbation in the song's lyrics. Jepsen posted an image of herself to social media on October 30, 2018, captioning it "Party for one", confirming social media rumours about the song's impending release after it was registered with BMI. Despite being promoted as the lead single from Dedicated, "Party for One" is not included in the standard track listing and only appears on select digital and deluxe editions of the album.

Idolator gave it an average rating of 7.5 out of 10, writing, "from the hook-filled production to the tongue-in-cheek lyrics, it only takes one listen to know that 'Cool for the Summer' is going to be huge". Nolan Feeney of Time stated that "Lovato's sultry vocals and producer Max Martin's Midas touch melt the track's air-conditioned synths into a sweltering, rock-infused banger". Writing for New York, Dee Lockett called it "the most perfectly manufactured Song of Summer maybe ever". Annie Zaleskie from the website The A.V. Club called the song an "unstoppable hit" and described it as "an icy rush of electro-pop seduction in praise of fleeting romance".

" Jeff Katz from Idolator awarded the album four- and-a-half out of five, praising the reinvention of her collection stating "in terms of marketing, as the gorgeous orchestration sets great expectations for the album as a whole. And as weʼve come to expect from Kylie, she delivers." Tim Sendra from AllMusic stated that the re-invention of the album consisted "class", that the reworked songs were "very effective" and that he'd enjoyed every song except "The Loco-Motion". He concluded: "(s)he's always been willing to take risks, and despite the initial thought that her music may not stand up to the orchestral treatment, The Abbey Road Sessions is another victory in a career full of them.

"Freedom Rings" earned genereally positive reviews fom music critics. Mike Wass from Idolator wrote that "Freedom Rings” is "a triumphant anthem about perseverance [...] that clearly means a lot to the enduring hitmaker." Rap-Up found that the song had Norwood showing "off her powerful pipes while sharing her testimony on the soulful rock-tinged track," while Vibe noted that "Freedom Rings" appears "to show the R&B; legend shedding light on her time away from the spotlight, rediscovering what made her fall in love with music and exorcising her demons." YouKnowIGotSoul felt that the song "is very different compared to what we’ve heard from Brandy in terms of production, but vocally Brandy is bringing her A game.

"Only Love Can Hurt Like This" was written by Diane Warren, who has previously written songs for Whitney Houston, Cher, Toni Braxton, LeAnn Rimes, Christina Aguilera and Britney Spears.Paloma Faith Unveils Heartstrings-Pulling "Only Love Can Hurt Like This" Video: Watch from Idolator, 31 March 2014 Initially, Faith refused to record the song because she hadn't any writing credit for it, however after hearing the song Faith felt overwhelmed by how (lyrically) the song reflected on her relationship and emotion at the time. Warren has also written a song with a synonymous title, "Nothing Hurts Like Love", sung by Daniel Bedingfield. The song "Only Love Can Hurt Like This" was premiered in a stripped back acoustic version on Amazon.

"I Don't Care" is a pop and dance song which lyrically finds Cheryl singing "It feels so fucking good to say, I swear that I don't care". Idolator website editor Bianca Gracie noted that the song carries "an 80s carefree vibe to it, thanks to the breezy synths and pumping bass line", and in contrast to her other songs like "Ghetto Baby", there are no "massive bass drops or an in-your-face dance theme". According to journalist Harriet Gibsone from The Guardian, the song had the same energy as Erasure's song "A Little Respect" (1988). EntertainmentWise commented that "I Don't Care" "sums up the underlying message of the whole project quite nicely".

Pop Justice praised Scherzinger's choice to release "Don't Hold Your Breath" as her second single. They said "For the follow-up [to 'Poison'] Nicole has taken the controversial move of recording a song that is also basically brilliant... It is nice to have a decent song about love because love is the official topic of pop and anyone who tries to tell you otherwise is a fool to themselves and needs to have a long sit down." A review from Rap-Up agreed saying that on "Don't Hold Your Breath", Scherzinger takes it the club with the "empowering pop jam" and declares her independence. Robbie Daw from Idolator praised the song, based just on its demo.

Sam Lanksy of Idolator called the song "surprisingly great" and noted it was a "mature midpoint" between the group's signature "rollicking pop-rock confection[s]" and "dreary ballads". Lanksy additionally called the song "merciful" and complimented it for using alternative-folk influences without "smell[ing] like spilled beer". Amy Sciarretto of PopCrush gave the song 4 out of 5 stars, calling it a "contemplative, acoustic guitar- driven song" and complimenting it for being "more memorable" than any of the group's previous works. Sciarretto noted that the song would resonate with listeners of many different ages and showed that One Direction "isn't just a boy band"; although noted the song was not as "crazy catchy" as their previous songs.

Becky Bain of Idolator claimed the track is "a solid tune that is ready to pump you up" and complimented Azalea's guest appearance adding that "the Aussie rapper lays down some serious flow." DJ Booth also praised it saying, "If you're a fan of EDM and a lover of 808s and snares, then you'll probably wear out the repeat button after listening to this single. Iggy does surprisingly well with the complex track as she professes that she's well versed in the art of the beat down with lyrics like, "It's a party on your face and I'm about to dance on it"," while Noisey drew comparisons to Major Lazer's 2009 single "Pon de Floor".

The video received positive reviews from critics, observing the chemistry between Spears and Azalea as well as praising Spears' dancing and noting a nod to her past music videos. Mike Wass for Idolator wrote, "Yes, it lifts product placement to previously unimagined heights and I can’t see an Academy Award in either diva’s future — but it’s a hell of a lot of fun. And just kooky enough to become a cult classic like the movie it’s loosely based on". Josh Duboff from Vanity Fair described the video as "entertaining and kind of weird. There’s a lot of big hair; Spears does some endearing waving (and generally seems to be having a good time)".

Carey revealed the single's artwork via her Instagram account on July 30, 2012. A critic for the Belfast Telegraph also noted that Carey poses "seductively" for the shot. Robbie Daw for Idolator noted that it appeared as though the artwork had been photoshopped and that it is reminiscent of the cover art of Carey's tenth studio album, The Emancipation of Mimi (2005). A writer from MTV found the shot "endlessly entertaining", while Declan Cashin of The Independent wrote: "Carey is depicted in golden hues as if she's radiating the precious shimmering element from her very being." On August 1, a 30-second low quality snippet of Ross' verse was released, only one day prior to its scheduled release.

The > numerous key changes that flood the end of the song could seem masturbatory, > but Beyoncé is not proving that she can sing as high as Mariah [Carey] or > Whitney [Houston] because we already trust her to. It is energy and not ego > that drives the constantly rising progression. Becky Bain of the website Idolator viewed "Love on Top" as a "joyful tune that doubles as a throwback to a simpler time" and added that Beyoncé's energy is "infectious". Conrad Tao of Sputnikmusic very much liked "Love on Top", writing: "[...] as she forces herself into a rarely used high range, she sets for a perfect catharsis for the burgeoning sexual passions of the album's first two thirds", and describing the outcome as "absolutely magnificent".

In a positive review, Chris Thomas from HipHopWired complimented the track, writing "The Harlem native waxes poetics with a dexterous flow. Her rhymes are laden with braggadocios lines about her boss status". In a mixed review, Kevipod from Direct Lyrics complimented the song's instrumental, but was critical of Banks' vocals, writing "'Heavy Metal and Reflective' possesses a hard-hitting, menacing beat courtesy of Lil Internet and a lot of stale rapping by Azealia", while also commenting on the need for a more mainstream song from Banks' "if she really wants to put her career together again". Robbie Daw from Idolator gave the track a negative review, describing the song as "trap-lite trash", recommending that Banks spends more time "actually focus[ing] on not making shit music".

Rob Markman of MTV News wrote that the singers "display good chemistry on the song". The Washington Posts Sarah Godfrey classified "Love a Woman" as one of the best tracks on the album adding that "The ballad, with its cheesy, delightful... R&B; production, blasts the notion that MJB is all raw power and Beyoncé is all chilly technique — the women are both bold and great here, with a slight advantage going to Blige." Becky Bain of the website Idolator commented that Garrett who served as a writer for the song "clearly knows how to love a woman right". A writer of Rap-Up magazine noted that Blige and Beyoncé "showcase their powerful pipes" as they tell their men what they want from a relationship.

The album's cover was unveiled on July 8, 2010 and met with positive reception. 'Idolator' said "Ciara has been tempting us with her sexy new single 'Ride' ... but if you're looking for her goodies keep on looking because their not on her Basic Instinct album cover (unless it's a seductive Playboy-esque fold out). The songstress, whose music video proved to be too hot for BET, kept things simple for the cover art." Ciara then outlined plans for a mixtape to precede the album's release, in preparation she recorded remixes to Soulja Boy Tell 'Em's "Pretty Boy Swag" ("Pretty Girl Swag") and Waka Flocka Flame's "Hard in Da Paint", as well as a cover of Young Jeezy's "Lose My Mind".

Robbie Daw of Idolator praised the song's lyrical content, however stated it "wouldn't exactly reshape Top 40 radio". Jason Lipshutz of Billboard thought the song allowed Spears to momentarily discard the confident exterior of ‘Work Bitch’ and express vulnerability over ‘paranoid’ feelings about her romantic interest," while Katie Atkinson of Entertainment Weekly deemed the song "in the vein" of the singer's early ballads "Don't Let Me Be the Last to Know" (2000) and "Everytime" (2003). Joe Wilde of Contactmusic felt "Perfume" was similar to "Lucky" (2000), and deemed it "a much more delicate release" when compared to "Work Bitch". Los Angeles Times journalist Mikael Wood noted that "Spears goes unexpectedly soft" on the song, adding that "she's pleading, not commanding.

Sasha Geffen from MTV News shared this view, writing that the "No" video "brings back some major '90s pop vibes — think TLC, Destiny's Child, and Britney Spears — and even seems to nod to those early iPod commercials with its black and red silhouette shots". Joey Nolfi of Entertainment Weekly highlighted its change from the subdued style of Trainor's music video for "Like I'm Gonna Lose You" (2015), commenting that she was "confidently stomping through" and pursuing "genuine pop star choreography". John Paul Stapleton of The Boston Globe opined that the video "shows a more sultry side" of the singer and "recalls Janet Jackson in her prime". Jordan Simon from Idolator complimented Trainor's edgier image, noting that she "gracefully avoids the sophomore slump" with the video.

In the second half of the video, Santa Claus makes an appearance, waving to friends and sharing a hug with Carey. The video ends with the singer laughing while the audience cheers and claps for her performance. Becky Bain of Idolator commented on the simple structure and themes of the video, writing "There’s not much to this simple vid, but it does feature Carey doing her usual hand waving theatrics while hitting some absolutely killer high notes." Bain also observed that the vast majority of the shots of Carey are either long shots, showing the singer from a distance, or close up shots, showing Carey from the shoulders and above, so that the viewer was not able to easily recognise that she was pregnant.

" Melinda Newman of HitFix praised Aguilera for "show[ing] admirable restraint vocally, beautifully pairing with Axel's vocals." Sam Lansky of Idolator wrote that the song "was already pretty heartrending, but Aguilera's vocals provide some lovely support and additional pathos; it's a relief to hear that she enriches, rather than overwhelms, the track." Bradley Stern of MuuMuse praised the "slow, sad piano melody", the "mournful strings," calling it "a haunting production – made even better by the Stripped diva, proving once again that less is often more." Stern also praised Aguilera for showing a simple side of her voice, writing that she "doesn't even have her own verse or chorus – she resigns to delivering subtle, yet effective, backing vocals for the entirety of the re-recording.

She continued by stating that the song is an "irresistible '80s euphoria and release". Digital Spy's Robert Copsey, who although stated that the song isn't anything "we haven't heard before," it is worthy of a standalone release. Shane Phoenix of Hot Spots disagreed, stating that "the lyrics are a little repetitive to be a feature single", but it could, however, be a "great follow up to 'On the Floor' if you want to listen back to back and keep dancing". A staff member from Idolator stated that: "In a parallel universe, we could definitely hear Gaga herself singing 'Invading My Mind,' though it has more in common with early tracks from Fame than anything the p-p-p-pointy-faced provocateur has done lately".

"Kings & Queens" received generally favorable reviews from critics. Madeline Rothman of MTV News stated that Max sings about "breathing fire, getting a 'royalty high', and calling on men to start championing the queens" with a strong electric guitar solo, while Jon Blistein of Rolling Stone recognized the song's "pulsing verse and a dramatic hook peppered with regal synths", and compared the guitar solo to the discography of Queen. Mike Nied of Idolator noted that the single "highlights Ava’s ability to fill dance floors across the globe". Nicholas Hautman of US Weekly described "Kings & Queens" as "one of the best singles to come out of 2020 so far", praising her "powerful and theatrical vocals" and the glam rock guitar solo after the second verse.

Becky Bain of Idolator described Knowles as "adorable and funny" in the nostalgic, 60s-inspired video for "Why Don't You Love Me". She also said that her retro-style is "supercute" and charming. On August 3, 2010, Bain claimed that "Why Don't You Love Me" is one of the videos that should have been nominated for Video of the Year at the 2010 MTV Video Music Awards, and she later said on September 8, 2010, that the clip for "Why Don't You Love Me" should have been nominated instead that of "Video Phone", in the category for Best Female Video at the 2010 MTV Video Music Awards. "Why Don't You Love Me" also made number nine in Rap-Ups Best Videos of 2010.

21 March 1995. page 14. Retrieved 28 March 2020. Stephen Sears from Idolator wrote that the song "is a linguist’s delight — "changes are shifting outside the word" — with a lyric about the verbal clues of a fading love affair." He wrote, "Lennox’s theatrical vocal is on a high wire throughout the song, climbing up and down the scales. She made subtle tweaks to the original lyrics and added a bizarre, spoken middle eight in which she assumes a child’s voice, gushing, "There are monsters outside!” The lush moment at 3:08, when a multi-tracked Lennox cascades back in, is flat-out beautiful. "No More 'I Love You’s" lives as a testament to the power of the vocalist as an actor.

"Come Get It Bae" received generally favorable reviews from music critics. Writing for Entertainment Weekly, Nick Catucci provided a favorable review; he wrote that Cyrus' background vocals "[made] for a beat with a restless edge", although he also felt that her contributions were "[sunk] too low into the mix". Carl Williott from Idolator opined that the track is "a worthy addition to their budding partnership", although he personally preferred Cyrus' appearance on "Smoke Signals" by Buddy, which Williams had produced shortly before premiering his own track. Michael Marotta from Vanyaland noted that Cyrus' repetition of the term "Bangerz" on her track "SMS (Bangerz)" was his favorite piece of Bangerz, and similarly noted that Cyrus' repetition of "hey!" had "the same effect" on "Come Get It Bae".

In 2010, Aphrodite was nominated for Best Pop Release at the ARIA Music Awards, but lost to Sia Furler's We Are Born; Minogue was nominated for Best Female Artist, but lost to Megan Washington. AllMusic included Aphrodite on their list of "Favorite Pop Albums of 2010". Idolator included the album on their list of "10 Out of '10: Idolator's Favorite Albums of the Year" list, with critic Robbie Daw writing that "hooking up with producer Stuart Price turned out to be the perfect way for Kylie to give her already impressive career a fresh jolt" and that "Aphrodite pretty much was my Summer 2010". At the 2011 Virgin Media Music Awards, Aphrodite was voted the Best Album by British music fans.

Christina Lee of Idolator opined that the lyrics, "You got that 9-to-5, but baby, so do I / so don't be thinking I'll be home making apple pies" and Trainor's "slight twang" on the song recalled the works of American singer Wanda Jackson. Rolling Stone writer Jon Dolan opined that the song's lyrical content describes "marriage as a contract between equals who work and don't cook," and deemed it a "YA dream that's no pastel-colored fantasy". The track's melody was likened to those of 1961 songs "Runaround Sue" by Dion and "Quarter to Three" by Gary U.S. Bonds. "Dear Future Husband" is set in the time signature of common time, with a tempo of 159 beats per minute.

Billboards Marina Pedrosa called the song a "tropical dance anthem" as well as an "electropop tune" containing a "sultry beat with a dash of reggaeton" that Lo's "angelic voice" sings lyrics like "I got the keys to heaven now/Babes all around and they got my mind spinning" over. Mike Wass of Idolator positively contrasted the song with Lo's solo material, noting that on "Blow That Smoke" it sounds like she is having fun. Wass also stated that the song "sounds like a hit" and said Lo "coos over a mellow, island-inspired beat". Writing for Dancing Astronaut, Chris Stack named it a continuation of Major Lazer's recent output "celebrating their Afrobeat roots" and also judged it had a "sultry island beat".

Clarkson told People that one of her favourite moments on television was performing "Since U Been Gone" at the MTV Video Music Awards, saying "I hate being all dressed up, so the fact that I was soaking wet with mascara smeared all over my face was definitely the highlight of my evening!" Becky Bain of Idolator thought that the performance was Clarkson's most memorable live performances while Kelefa Sanneh of The New York Times thought Clarkson's performance was very solid despite the feeling that she sounded better dry than drenched. Clarkson performed the song on Saturday Night Live in 2005, along with the 2006 BRIT Awards which took place in Earls Court, London. "Since U Been Gone" was performed by Clarkson in her many headlining tours.

A music video for "Black and White" premiered on Minogue's YouTube channel on September 11, 2015. The video was directed by Katerina Jebb. Robbie Daw from Idolator likened the visual as reminiscent of the Hollywood golden era, "looking like a silver screen goddess from Hollywood’s golden age in a little two-piece number, shaking her flawless body around in a wedding veil and showing off her hula dancing skills." Rebecca Merriman for Daily Mirror similarly noted, "shot in black and white, with some distortion, the sensual vintage style video echoes old Hollywood and is definitely a departure from her Showgirl days" and went on to note, "there are some stranger moments - like when she hangs off a tree - but it is proper vintage Kylie behaviour".

Upon its release, "You Sound Good to Me" was met with mostly positive reviews. Markos Papadatos of Digital Journal suggested the song made Hale's future in country music look "promising", awarding the song a 4.5-star (out of 5) rating. Sam Lansky of Idolator similarly complimented the song as a strong debut that "bodes very well" for the associated album, and proposed that it could be a hit at country radio, owing to its "attitude" and "big singalong chorus". Matt Bjorke of Roughstock gave a glowing review, describing "You Sound Good to Me" as well written and strongly performed, while also highlighting Hale's "powerful" voice. "She's not another confection of some machine, Bjorke concludes, "She’s [sic] genuinely talented and “You Sound Good To Me” proves it.

Following its release, "RBB (Really Bad Boy)" received generally mixed to positive reviews from international critics. Writer Mike Nied of Idolator described the song as "the banger" that boasts "a fiercely danceable production" with a "sing-along chorus", while Chase McMullen of The 405 chose the song as the "Track of the Day", praising it for upping "the ante on boisterous, feminist fun" from "Bad Boy", while still staying "in true Red Velvet fashion". In the same article for the video, Caitlin Kelley of Forbes remarked that "As a whole, "RBB" is like if cocktail music became anthemic pop and then soundtracked a horror movie. The harmonies are complex, and vocal ad libs fill every nook and cranny of empty space".

" Digital Spy's Lewis Corner concurred, writing: "[The song] isn't a quick card trick to draw you in like some of the band's previous hits, but rather a long-form spectacle that slowly allures you with its intricacies and delicate craftsmanship." The song was placed at number thirty on Rolling Stones 50 Best Songs of 2014 list. Writing for Consequence of Sound, Alex Young opined that the track "sounds a lot less Bon Iver and a lot more Chris Martin drinking a venti, no-whip Skinny Vanilla Latte on a Sunday afternoon." Carl Williot of Idolator noted the song's Edge influence and commented that it showed "a tonedown their trademark grandeur in exchange for a more minimalist, atmospheric set of songs.

" Mike Nied of Idolator called it his best album to date, in addition to one of the best of the year so far. Jon Caramanica of The New York Times gave a mixed review, calling the album "appealing if not wholly engaging, full of pleasantly anonymous songs that systematically obscure Mr. Mendes's talents." Jamieson Cox of Pitchfork gave a rating of 5.1 out of 10, noting that Mendes's songs lack a unique sound, "and you can imagine them being recorded by anyone: Nick Jonas, Charlie Puth, a random choice from the One Direction diaspora." In a three-star review, The Guardian Laura Snapes opined that Mendes's "attempt to detoxify pop masculinity is admirable, but you’re left yearning for a bit of rough and tumble.

On April 14, 2008, Gawker Media announced that it was selling Wonkette and that Layne would remain managing editor and part owner. Gawker Media head Nick Denton attributed the sale to "hunkering down" before another dot com downturn and the Internet bubble bursts: "And, even if not, better safe than sorry; and better too early than too late..." Gawker's Silicon Valley gossip site, Valleywag, was merged with the flagship Gawker.com site, its popular music site, Idolator, was sold to Buzznet, and The Consumerist was sold to Consumers Union as part of the same divestiture effort. Wonkette Media also launched Wonkabout, a D.C. culture guide, which ran from February 12, 2009 until April 28, 2011, and was edited by Arielle Fleisher.

Jepsen addresses her post-breakup feelings, as she gets tired of her boyfriend's lies and broken promises: "I wanna touch your heart, I wanna crush it in my hands / Make you plead and cry as you give up all the lies". Sam Lansky of Idolator wrote that "the tremor in Jepsen's voice in the pre-chorus one of the year's most heartbreaking pop moments". As she closes the pre-chorus singing, "No more crying to get me through / I'll keep dancing till the morning with somebody new", the instrumentation incorporates a LMFAO-style beat as we hear Jepsen repetitively chanting, "Tonight I'm getting over you". According to Candy, the song's message is one of trying to get over a lover, but eventually getting back with them.

Entertainment Weeklys Marc Sneticker felt the song shows off their "vocal excellence when allowed some breathing room." Brittany Spanos of Rolling Stone cited "Don't Say You Love Me" - along with "Make You Mad" - as one of the album's most "infectious jams" which they assert themselves in romantic relationships. Mike Nied from Idolator wrote that "Don't Say You Love Me" "sets the scene" for one of the group's most "tender" vocal performances. MTV News's Ross McNeilage named it a "brilliant song" further opining that "Don't Say You Love Me" helps the album to be their most "cohesive and fully released body of work. Gerrick Kennedy from Los Angeles Times called it a "road trip song where you’re looking at mountains and lakes.

" Robbie Daw from Idolator said that the song "probably won't shake out as being the most memorable entry into Nicki's canon of jams," applauding Cassie's vocal contribution: "we dig the way Cassie's soft vocals glide in atop a shimmery acoustic guitar." Carrie Batten of Pitchfork gave it a positive review by writing the track is "a zig-zagging pocket symphony whose bubblegum is so sugary it might actually raise your glycemic index just by hitting your ears." MuuMuse's Bradley Stern called the duet "fiery" and "robo- tastic," also comparing "The Boys" to Minaj's previous singles "Super Bass" and "Stupid Hoe." A writer for The Huffington Post stated: "The track is actually interesting because it vacillates from rap song to some version of a downtempo singer-songwriter tune.

"West Coast" was listed as one of the best songs of 2014 by several news media sources. On The Village Voices Pazz and Jop critics' year-end list in 2014, "West Coast" was ranked at number 49. Cosmopolitan placed "West Coast" at number 3 on its list of the 50 Best Songs of 2014. The staff of the Music Times also placed "West Coast" at number 3 on their list of the 25 Best Songs of 2014, with De Groot writing, "With the release of 'West Coast,' Lana Del Rey's music finally converged with the complexity and intensity of her persona, and it was glorious". Idolator ranked the song at number 5 on its list of 2014's Best Pop Singles.

Among the songs they released this year, 'Spring Day' was the reason why they consistently received popular love." Jacques Peterson of Idolator said the band "tugged on the heartstrings with this hit," which he felt is "K-pop's answer to the Mariah Carey classic 'One Sweet Day'." In The Malaysia Star, Chester Chin regarded the song as "the most vulnerable cut" on You Never Walk Alone and opined that it "sees the boys baring their soul, shedding light on a more sentimental side of the group." Reviewing for Vulture, T.K. Park and Youngdae Kim felt that the song "opened a new chapter in [BTS'] aesthetics" by "substituting the group's previous calling card in hip-hop with the romanticism in pop and rock.

Neil McCormick of The Telegraph classified the track as "equating clumsiness with bumping and grinding sex," where "[Spears] switches back and forth between the two approaches so frequently that it almost sound like a duet between sweet and tough alter egos." The National Si Hawkins confessed that "Clumsy" is "a return to quirky form," while John Murphy of musicOMH emphasized that the song was an "undoubted highlight". Jonathan Riggs, penning for Idolator, opined that "although none of the more manic moments match the frenzied brilliance of 'Toxic' (but what could, really?), Britney keeps control of the pulsating 'Clumsy'." While noting that "Britney holds her own on the sexually charged 'Clumsy'," Sal Cinquemani of Slant Magazine suggested that Christina Aguilera would match better with the recording.

John Mitchell of MTV News commented: "The clip could be looked at as a metaphor for the difficulties Levine faces balancing his professional life as a world-famous singer and TV star and a personal life with the same wants (happy relationship, a family) as everyone else." He further added: "Perhaps the video is a lingering response to his recent breakup from model Anne Vyalitsyna. Robbie Daw of Idolator agreed, writing: "We wouldn’t be surprised to find out that the breakup had some impact on the theme for the video." However, Daw noted: "The visual, for the most part, strays from the song’s lyrics, which seem to describe a man trying to resist the sexual charms of a woman he realizes he’s not compatible with.

Brian Mansfield for USA Today felt that the Stax/Motown influence is what makes "#Beautiful" "such a winner", as it represents Carey's return to form in an altogether unexpected way. Jordan Sargent for Spin praised the song, writing that "#Beautiful" is what summer is made of. A reviewer for Idolator called the song a "nod to old-school R&B;" and wrote that Carey takes advantage of Twitter and the appeal of it by including a hashtag in the song's title. Carrie Battan for Pitchfork Media was critical of the use of the hashtag in the song's title, but applauded it for featuring Miguel, and said that the song had "the finger-snapping R&B; throwback charm that sounds primed for repeat play through the summer".

During the last chorus, Rihanna appears in a different outfit and walks into a lounge, where she puts some clothes on a table and then sits on a sofa. As her ex-boyfriend walks in, the singer gets up and walks over to the clothes, where she withdraws some matches and strikes one, dropping it on what is made aware to be some of her ex-boyfriend's clothes. As the song comes to and end, Rihanna walks out of the room whilst he tries to put out the fire. Erika Brooks Adickman of Idolator commented that Rihanna had once again changed her hair style and was wearing a red jacket which looked similar to the one Michael Jacksons video "Beat It".

The song was generally well received by critics, who praised Spears for taking a different musical direction than her sister, and for the maturity expressed in the lyrics and her delivery. Us Weekly compared the track favorably to the early work of Taylor Swift and commented that the country twang and overall quality surprised them. Also drawing comparisons to Taylor Swift and Kacey Musgraves, Sam Lansky of Idolator called "How Could I Want More" a "lovely and wistful sigh of country-pop longing" that may not be terribly radio-friendly but is nevertheless "pretty great". Billy Dukes of Taste of Country highlighted the "sharp, vulnerable lyric" and excellent arrangement in his positive review of the song, while also praising Spears for displaying expectation-defying maturity.

Lindsay Zoldadz, writing for Vulture, praised the line "You're so Art Deco, out on the floor", calling it "the quintessential Lana Del Rey lyric". Amy Davidson of Digital Spy praised the song for adding an "interesting" aspect to Del Rey's persona on Honeymoon. In a mixed review of "Art Deco", Jessica Hopper of Pitchfork called the song "a highlight [of Honeymoon] that curdles when the careless phrase 'You're so ghetto' comes out in the chorus", overall deeming it a "tonal misfire". Similarly, Mike Wass of Idolator called the song "lyrically questionable", though praised the song for having "a slick groove and an instantly hummable chorus". Peter Tabakis of Pretty Much Amazing gave the song a negative review, criticizing the rhyme of “you're so Art Deco” with “baby, you're so ghetto”.

Robbie Draw from website Idolator wrote a positive review, commenting "Bruno Mars hit up the Late Show With David Letterman last night and left a piece of his heart on the stage after turning out an emotional, bluesy rendition of his new single". The song was performed at NBC's The Today Show on November 22, 2010, as part of the Toyota Concert Series and at the 2010 Soul Train Music Awards on November 28, 2010. On January 6, 2011, Mars performed "Grenade" on The Ellen DeGeneres Show with a guitar, "backed by three background singers, a strings section, and pianist". He also performed the song on the Dutch television show The Voice of Holland on January 21, 2011. On February 13, 2011 he performed the song live at the 2011 Grammy Awards, along with B.o.

" Mike Wass from Idolator gave a mixed review, saying, "There's no right or wrong approach, but if you're going to relaunch as an irreverent pop siren like Teenage Dream-era Katy Perry, you better have an album full of surefire hits to back it up. And Confident is lacking in that department." Nick Levine gave the album 3 out of 5 stars, saying, "It's powerful stuff, especially from a singer who has bravely spoken out about her past struggles with depression, drug and alcohol abuse and an eating disorder, but ultimately Confident feels a bit relentless." Glenn Gamboa from Newsday gave a more positive review, saying, "On Confident, Lovato's swaggering search for self is remarkably revealing, as she tackles everything from sexual experimentation to mental health issues to her relationship with her estranged father.

At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, it received an average score of 64, based on 8 reviews indicating "Generally favorable reviews". Ray Rahman of Entertainment Weekly gave the album an A- rating stating that the: "highlight may be the Christina Aguilera collab" while also giving a nod to the Havana Brown collaboration "Last Night" as the other "best track". Sam Lansky of the website Idolator stated the music and large range of featured artists are "mostly what fans of his clubby hip-pop have come to expect, so don't be surprised when it's blasting at your local mall for the next year." He noted Pitbull's collaboration with Jennifer Lopez, "Drinks for You (Ladies Anthem)" to be one of the album's stand-out tracks.

Conversely, Robert Christgau comments that the music abandons the "grace" of The College Dropout and Late Registration in favor of "grandiosity" and "sonic luxuries". The album is also described by music journalists as a work of prog- rap music, with Carl Williott of Idolator musing if it was "the world's first". HotNewHipHop writer Samuel Allan regarded it as "a massive, paradigm- exploding piece of pop maximalism and prog-rap", and Rolling Stones Christopher R. Weingarten called it "a Pink Floyd–sized, King Crimson–sampling 68-minute prog-rap behemoth in the age of shrinking budgets". Eric Sundermann of Noisey also referenced the album as prog rap, and fellow contributor Phil Witmer regarded the album as "an unprecedented retreat by a hip-hop artist into the weird world" of 1970s progressive rock.

Madonna ending her set at Stonewall 50 – WorldPride NYC 2019 with a performance of "I Rise". Madonna partnered with Time Studios to create a music video for "I Rise", which was directed by Peter Matkiwsky and released on June 19, 2019. Madonna herself does not appear in the video, but it instead shows footage of the Stoneman Douglas High School shooting survivors, LGBTQ supporters, women's rights protesters, Olympic gymnast Aly Raisman's testimony about sexual abuse, Filipino journalist Maria Ressa's arrest, among other social justice movements. Mike Wass from Idolator commented that the clip "conveys the song's powerful message in a striking way", while according to Alexander Kacala from The Advocate, "Madonna has never shied away from making bold statements with her work", and the video was "a testament to that".

The contributor was more negative of the acoustic version of "I Kissed a Girl" and the fact that MTV cut out parts from the video recording: "What I'd like to have seen is for MTV to make Katy Perry enter into an unscripted dialog with the fans that are there, film the whole thing and put that on a DVD – then you will really have something unplugged. For how can you truly know an artist if we don't see such interactions?" Becky Bain from website Idolator favored Perry's live voice and her natural presentation, though she was ambivalent towards the decision of giving the songs an acoustic treatment. She went on to say that the MTV Unplugged versions of Perry's songs were not able to substitute the "glossy originals".

"Peppermint Winter" received mixed reviews. The Idolator blog gave the song a negative review, writing in its review of the song, "Owl City's frontman Adam Young has released his own contribution to the cornucopia of Christmas pop songs flooding this season, 'Peppermint Winter', and the saccharine love song to snowballs and sleigh rides gives us the same feeling we get when we eat too many candy canes in one sitting. Somebody get Owl City's prankster buddy Ke$ha on the remix of this track to pour some much needed Schnapps all over it." However, the Napster blog gave the song a more positive review, writing that the song "is cut from the same cloth" as his previous song "Fireflies" and calling the song "light and sugary like the candy canes on a Christmas tree".

Robbie Daw of Idolator, gave the song a mixed review, criticizing the singer's "unnecessary Rihanna-esque vocal delivery" while adding that it "isn't the strongest lead single we've heard from an album." Jessica Sager of Pop Crush rated it 0.5 out of 5 stars, comparing Furtado's vocals to the ones of a "child wailing through a cardboard tube." She also wrote that "Sager also noted that the singer "wants to depart from Loose as well, but she doesn't have anything to say beyond getting dressed and having a guy ignore her" and concluded that "the song is more irritating than catchy, and the beat isn't strong enough to make many people dance." Melinda Newman of HitFix deemed the song "It's a meaningless little ditty that is all about the military beat and bragging rights.

The song features a "bright", "bouncy" electro/synth beat. Hilson sings the hook, while T.I. raps the verses and harmonizes in the song's melodic bridge. According to Robbie Daw of Idolator the song's intro is reminiscent of Hilson's "Knock You Down". Although stating the song fell a little short, a Chicago Now writer called it a "solid, feel- good summer joint", and commented, "All the elements are here for this one to blow up with the masses: a catchy, repetitive hook from Keri Hilson, a poppy, feel-good production, and some memorable messages from T.I." According to DJBooth, the song "essentially attempts to recreate the success of 'Whatever You Like', calling the Hilson-T.I. pairing, "A combination like that could only mean one thing; we’ve got a hit on our hands.

" Robbie Daw of music blog Idolator found that it was "a catchy enough jam that we kind of wish we could hear sans Breezy. But given the lackluster performance of Brandy’s previous single, the Monica collab "It All Belongs to Me", hitching up to Brown for a song ahead of her album launch probably seemed like the sensible thing to do." Chuck Arnold of People magazine gave the song three and a half out of four stars and added that "after that underwhelming reunion with Monica, Brandy really seems poised for a long-overdue comeback with this thumping, stuttering banger featuring Chris Brown." Robert Copsey of Digital Spy found that "after 2008's ballad-packed Human, Brandy has opted for an altogether bouncier sound for the lead cut from her new album Two Eleven.

Journey To Freedom received highly positive reviews from music critics. Andy Kellman of AllMusic wrote 'this is among Williams' best work, highlighted by "Need Your Help," "Fire," and "If We Had Your Eyes."' Peggy Oliver for Soul Tracks expressed similarly, writing Journey to Freedom 'is by far Williams’ best body of work, a personal cleansing that further amplifies her dexterity with multiple genres. Michelle Williams’ half-dozen year hiatus away from the studio has served its purpose: she has emerged as an artist clearly traveling on her own artistic road to freedom, and delivering an album that was well worth the wait.' Mike Wass of Idolator complimented the production, praising the mix between R&B; and Gospel noting 'Journey To Freedom is the perfect bridge between the singer’s gospel and secular output.

Slant Magazine editor Sal Cinquemani was reviewing the greatest-hits album 20 when he observed that both girls' "finest" singles, "Creep" and "Ain't 2 Proud 2 Beg", had them "proudly flipping accepted modes of female sexual behavior and consent on their heads". Idolator journalist Robbie Daw explained the song's "staying power" was because it is a "provocative" track that dared to expose the "taboo, down-low" aspects of a relationship. In the 2014 biopic CrazySexyCool: The TLC Story, "Creep" served as the backdrop to a dramatic scene where Lopes' character set her then-boyfriend Rison's bathtub filled with tennis shoes on fire and destroyed their mansion because of his infidelity. Vibe Clover Hope watched the scene and realized how "perfectly sexy and unapologetic" the song was at the time of its first release.

Similarly, Marc Andrews from DNA Magazine reviewed the remastered vinyl of the parent album and pointed it as the best track on the album. Mike Wass from Idolator said "the Australian diva switched labels and reemerged with a haunting Brothers in Rhythm-produced indie-pop anthem that still seethes and seduces 20 years later." Writing for the Herald Sun, Cameron Adams placed it at number two on his list of the singer's best songs, in honor of her 50th birthday, calling it: "THE one that changed everything – where Kylie became instantly cool [...] a lush, six-minute experimental epic with middle eastern vibes and modern dance beats, it automatically drew a line in the sand to reboot Kylie". Stephen Meade from The Network Forty described it as a "haunting dance-friendly sound".

In February 2007, music blog Idolator published a brief post on the music, describing it as "MF Doom-like hip hop instrumentals with India- influenced guitar tracks and some smoother downtempo work that might fool Portishead fans" and speculating that Clutchy might be a pseudonym for DJ Shadow. Additional attention from Okayplayer and KCRW DJ Jeremy Sole sparked discussion among music bloggers who postulated that Cut Chemist, Madlib, Money Mark or Shawn Lee might be responsible for the music. Clutchy's true identity was never discovered, but in early 2008, noted funk label Ubiquity Records released "Walking Backwards", a full-length album of new Clutchy music, featuring guest vocals from Darondo. It was followed by two collaborations with Shawn Lee and the 2009 album "Music Is My Medicine", credited to Clutchy Hopkins and Lord Kenjamin.

" Kate Solomon of Drowned in Sound was also positive to what she called "his dreamy falsetto underpinned by a melancholy organ line and coupled madly with Top Gun guitars and Disney film strings." Jon Caramanica of The New York Times described it as "an elegant whisper of a love song, part mellow soul burner and part post-Coldplay melancholia." Christina Lee, an editor for Idolator, noticed that the song "sounds like Zayn asked 'Channel Orange' producer Malay for his own version of Frank Ocean's 'Bad Religion,' though it suffers because his writing and singing aren't nearly as gripping." Sam Richards of NME agreed, noting that "the beginning of ‘It’s You’ sounds like that album's 'Bad Religion', with its melancholy jazz chords and confessional vocals – though it's debatable how much Zayn is ready to confess.

" Michael Cragg of The Guardian called "Gypsy" an "epic narrative about fame and loneliness" with the composition comparable to "The Edge of Glory" and a vocal riff similar to that of "Poker Face". Comparisons to "The Edge of Glory" were also present in Robbie Daw's review of the album for Idolator. Chris Bosman of Time, thought that "Gypsy" serves as the "epic end-of-album track" along with "Dope", but criticized the songs for not being unique enough, saying that one song would have done "the job better than both." Similar thought was echoed by Andew Barker from Variety who found that Artpop did not have any songs worthy of release as singles, and RedOne's contribution, "the 'Edge of Glory' sequel 'Gypsy', doesn't exactly scream 'crossover hit' either.

" James Reed from Boston Globe opined that Revival is " a forthright album of pop songs that make it clear she is ready to be honest and even vulnerable in her music." Mike Wass of Idolator agreed, calling it "an immaculately curated collection that showcases the 23-year-old's ability to genre-hop and experiment, while staying true to herself." Steve Knopper from Newsday applauded Gomez for sounding "appealingly desperate and hungry, and this quality transcends the most familiar-sounding material," adding: "Something in Selena Gomez's pop formula is nicely soft-spoken and mysterious." Mikael Wood from the Los Angeles Times praised the album for being "surprisingly modest, from its midtempo pacing to its thoughtful introspection," acknowledging the fact that "Gomez is finding freedom in control, kudos to her for getting there so quickly.

O'Brien wrote that "'Bedtime Story' was a vivid track that foreshadowed Madonna's move towards electronica". Author Victor Amaro Vicente wrote in his book, The Aesthetics of Motion in Musics for the Mevlana Celal Ed-Din Rumi, that the song's "complex rhythmic texture" made it a "dance hall favorite in the mid-1990s". Rikky Rooksby wrote in The Complete Guide to the Music of Madonna, that the track was similar to the music of English alternative band Everything but the Girl, and claimed that "in contrast to most other songs of the album, this is one track that could have been longer and more trippy than it is". Writing for Idolator, Bianca Gracie called "Bedtime Story" the highlight of the album, adding that "It sucks you in with its quivering drum patterns taken directly from trance music, which creates an ethereal ambiance".

Monica Herrera of Billboard gave the single a mixed review, stating that Minaj, being "one of the most visually distinctive rappers to come along in years", that the single was an "anticlimatic coming out song", "considering the hype Minaj has generated through mixtapes, cameos and her co-starring role in Lil Wayne's Young Money project". However Hererra did commend the lyrical content, stating "her sassy one-liners are as entertaining as always", and the overall production although it didn't suit Minaj's "her mental-patient delivery nearly as well as, say, Kane Beatz' simpler track for Young Money's "BedRock". Robbie Daw of 'Idolator' said, "we wouldn’t expect Nicki to do any less than come out of the gate charging full force, lyrically, on her debut single. That said, we were expecting maybe a tad more of a melody on the track.

Prior to the album's release, snippets of three of the album's tracks were posted online for a short time by Lavigne's record label: "Let Me Go", "Sippin' On Sunshine", and "Give You What You Like". Upon the album's release, Lavigne revealed on Twitter that "Give You What You Like" was one of her favorite songs from the album, and she is considering releasing it as the fourth single from the album, with the other option being "Hello Kitty". She told Idolator that "Give You What You Like", along with "Hello Kitty", "Bad Girl", and "Hush Hush", were her favorite songs from the album. The song has been described as "sexual" by many of its critics and listeners, with many agreeing that the new sound Lavigne has on this song in particular shows a very dark and mature side of her.

It also earned the group their first music trophy since the unit's debut in July 2016, having won the trophy on M Countdown on June 22, 2017. The song has since become one of the group's signature songs, while being hailed by Billboard and Idolator as "one of the best K-pop songs of 2017". In addition to their initial promotion in South Korea, NCT 127 expanded their activities overseas with their first live performances at the 2017's KCON music festival in Mexico City, followed by their appearance at KCON Festival in Los Angeles and New York City, respectively. They also became the first K-pop act to be invited and introduced in Apple Music’s “New Artist of the Week” list, having attended and performed at the Apple Store in Williamsburg, Brooklyn on June 25, 2017.

New York Daily News writer Rachel Maresca complimented on Aguilera's new figure, "she looks happier and healthier than ever as she bops around smiling ear-to- ear in swimsuits showing off her trimmed-down figure", while Allison Takeda from US Weekly commented that Aguilera's look in the video is "slim and gorgeous". According to Sam Lansky for Idolator, the video's message is a "soulful, and completely inexplicable, letter to her fans thanking them for their undying love". Malene Arpe for the Toronto Star was positive toward the clip, calling it a "perfect antidote to a week of thinking about the Miley Cyrus/Robin Thicke porn circus". She continued, "Aguilera's new video is so sweet and innocent and full of goodwill towards humanity, it will make you forget all about twerking and foam fingers and the inherent greasiness of Robin Thicke".

Like the opening track of Born This Way—"Marry the Night"—the song made its debut on a special edition of social network game FarmVille, called GagaVille and released on May 18, 2011. "Electric Chapel" has been compared to the work of Madonna, with NMEs Dan Martin saying that "if you'd ever wondered what that Madonna doing the soundtrack to Blade Runner might have sounded like... then wonder no more." Genre-wise, Brian Hiatt of Rolling Stone referred "Electric Chapel" to as an electro rock recording, while Robbie Daw of Idolator dubbed the song as being of the pop metal genre, attesting that unlike fellow song from Born This Way, "Heavy Metal Lover", "Electric Chapel" possesses an actual metal-edge. Gaga recorded the chorus a number of times, channeling the vocals of bands like Duran Duran, and singers Cher and Billy Idol.

The song has been compared to Zedd's previous electro house ballad "Clarity", with Critic of Music saying "Stay the Night" is primed for "pop radio". Digital Spy said the song was "generic EDM", and Idolator pointed to its EDM-style club-ready dance beats, "dreamy" synths, and a pop-style vocal. "Stay the Night" received critical acclaim, with some critics noting the song's potential for crossover appeal to audiences of mainstream pop. The single reached the number one spot on both Billboards Hot Dance Club Songs and Dance/Mix Show Airplay charts in its December 7, 2013 issue, giving Zedd his second number one at Dance Airplay and his third chart- topper at Dance Club Play, while Williams marks her first number one on a Billboard chart (at Dance/Mix Show Airplay) as a solo artist.

Idolator editor Mike Wass called the song "another soaring house anthem with massive crossover potential" and praised the "inspired" choice of vocalist: "Hayley Williams puts her trademark angsty rock leanings to the side ... and she lends the track a certain credibility outside the ever-growing EDM market." James Shotwell of the entertainment news blog Under the Gun Review gave "Stay the Night" a mixed review. While stating the song "is destined for dance club glory" and will "fit nicely" on contemporary hit radio, Shotwell also criticized its lack of uniqueness. Music blog Critic of Music gave the song an A– rating, noting that while the song suffers in comparison to previous single "Clarity", particularly in the weakness of its lyrics, "Stay the Night" is still successful at highlighting Williams' "vocal versatility" and Zedd's "excellent, radio-friendly" dance beats.

Noah from Idolator wrote wrote that the song is reminiscent of Whitney Houston's single "I'm Your Baby Tonight" (1990). Elliott references Katy Perry and her 2008 song "I Kissed a Girl" during one of the verses with the lyric, "Up in that club it's just me and my girls, play like Katy Perry kissing on girls." Meanwhile, "Painted Windows" reunited the Pussycat Dolls with Rodney Jerkins who produced "When I Grow Up" and "Elevator" for Doll Domination,with the song being described by Digital Spy's Nick Levine as "stomping and scuzzy in equal measure". A reviewer for Rap-Up teased that Melody Thornton could actually be heard singing on "Painted Windows", a nod to the fact that Scherzinger is credited for lead vocals and Thornton for additional lead vocals in liner notes for The Mini Collection.

Hasty commented that it was a "gorgeous way to sell the song." Robbie Daw of website Idolator compared the Nick Knight cinematography to the style featured in the music video for Lady Gaga's single "Born This Way" (which was directed by Nick Knight) and wrote that "the black- and-white extravaganza is a rap video unlike any others released in recent memory — well, unless you count Kanye's last off-the-wall clip." Luis Tovar of Pretty Much Amazing compared the video to the trailer of The Dark Knight Rises, and called it "totally Kanye". Popdust writer Katherine St Asaph described the video as an artistic "black-and-white cut that disorients you with lots of falling and flailing and flailing-called-interpretive-dance, with billowing smoke and sudden shifts in art direction", commenting that the video was a welcome change of pace.

Sam Lansky of Idolator agreed, writing that "while evoking Elton John, the track sounds like it was recorded live in a piano bar, with audible background noise, like the spooling of film on a projector." Robert Copsey of Digital Spy said that Mars lists everything he should have done for the one he loved before she broke up with him. The lyrics find Mars regretful of not giving attention to his ex, as he "should have bought her" flowers and treated her better, as he reflects on their past relationship wishing for her new man to treat her better. Nick Messitte writing for Forbes found the track to be reminiscent of the "modern- day piano balladry" of Stevie Wonder and Donny Hathaway's "lonelier classics" such as "A Song For You" (1971), "Giving Up" (1971) and "For All We Know" (1972).

"Love So Soft" has received a positive response from music critics, some of whom praised Clarkson's vocal performance in the song. Time correspondent Raisa Bruner wrote that the song "works as a nice showpiece for Clarkson's voice", while Rolling Stones Jon Blistein described it as brassy, and along with "Move You", as galvanic. Writing for NPR, Karen Gwee observed that Clarkson's performance on the chorus is more chanted than belted, but nevertheless praised her voice which pulls the track out of the "ubiquitous-anonymous, grocery aisle territory", and remarked that only a few others have her "easy confidence and her vocal ability" to flaunt fully on the bridge and final chorus. In his report for Idolator, Wass compared the song as falling closer to the Back to Basics-era Christina Aguilera in its blend of old and new.

" Mile High Music commented that the project "most certainly removed any skepticism" held regarding Heaton's singing ability, and that the YouTube covers responsible for her success "don't come close in comparison to any track on this project." Sean Gavin of The Daily Dose also praising Heaton's vocals and additionally picked the title track and "Rolling Stone" as standouts. Mike Wass of Idolator called it an "excellent debut" adding that Heaton "effortlessly jumps from the gut-wrenchingly confessional (...) to bass-heavy party jams," also highlighting "Rolling Stone" describing it as a "a folk-tinged, mid-tempo ballad, showcases the depth the teenager's artistry and somehow manages to be both subtle and ridiculously catchy." In December, the same website listed it as one of the best pop EPs of 2014 mentioning that it "confidently showcases the versatility and scope of Niykee's songwriting.

Idolator reviewer Sam Lansky wrote that Mars is "serving up all kinds of retro flavor in the clip for that song, which eschews the higher-concept vibe of his other videos (dancing monkeys in 'The Lazy Song') for a mellower vibe", adding that the video is "all filtered with Instagram-evoking effects that give it the grainy feel of an old tape." Rolling Stone, commented that the video takes place "in a dingy club", however, "the real attraction here are the grainy visuals filmed in fake fuzziness, giving the clip a retro feel." Chris Martins of Spin magazine said the video's vintage style "may be slightly off since the [song] sounds far more Sting than Curtis Mayfield", but regarded it as "a good one nonetheless." The music video for the song received multiple awards and nominations.

But Sia's success as a hitmaker has also turned into a pitfall. Even as she and her producers flaunt their layered vocals and whiz-bang sound effects, there are already so many of Sia's midtempo victim-to-victory anthems around that they offer diminishing returns, particularly when listened to as an album." Kathy Iandoli of Idolator was more positive towards the effort, stating that it "feels like the aftermath of coming to terms with her nagging demons, as Sia maintains brutal honesty cloaked in cinematic, mainstream music — albeit through songs that, as we well know by now, were written for and rejected by other artists." She continues: "Her voice is so bold and beautiful that when she attempts to wedge herself into songs designed for thin voices (check "Sweet Design"), she sounds like an opera singer in a dancehall.

" Rick Florino of Artistdirect rated "All Around the World" five out of five stars, and commented that the track is not only a sequel to "Baby", but is also "a whole new level for pop itself." Becky Bain of Idolator explained that the song is a good example of how Bieber is taking "baby steps to 'swaggy' adulthood through the evolution of his music — keep the content G-Rated, but make the beat something the older club-going crowd can enjoy. So far, it's working." Amy Sciaretto of Pop Crush gave the track a mixed review, and deemed it as highly similar to the work of Spears, stating: "If you told us this song was penned for Britney Spears for her last album Femme Fatale, we'd Believe it, because the computerized style and the thick vocal effects remind us of recent Brit material.

"In My Blood" was co-written by The Veronicas (Jessica Origliasso and Lisa Origliasso) along with Anthony Egizii and David Musumeci in Sydney. The duo have previously collaborated with the latter two on their 2014 single "You Ruin Me". The duo credit Kylie Minogue as an inspiration for the sound of the song. Speaking about the sound, Robbie Daw of Idolator compared the recording to other dance-pop tracks saying, "'In My Blood' is a dreamy foray into dance-pop territory that has shades of Kylie Minogue, Robyn and even Texas." In the chorus the duo sing "we don’t have to wait all night to know if this is really love. We don’t have to wait all night ‘cause I can feel you in my blood," with a throbbing bass line that transitions into the hook with a robotic drop.

Similarly, The Line of Best Fit's Laurence Day felt the track manifested the rapper as "an affable bundle of chum-ly charm with lessons (not patronising lectures) that are applicable for anyone with a lick of ambition". Craig Mathieson of The Sydney Morning Herald praised the song's "unexpected complement" of inspirational lyrics with spectral melodies. Idolator reviewers were divided; Carl Williott deemed the song "a thudding piece of inspirational rap", while Christina Lee wrote that it was "tepid" and hinted at "'storms' and 'goals' like posters in a school guidance counselor's office". Other reviewers were also critical of the track's lyrics; Alfred Soto of Spin said it "lays out every admonitory cliché from the Barnes & Noble self-help shelf"—a view echoed by Lindsay Zoladz of New York who dismissed it as "inspirational quotes copied from a high-school guidance counselor's bulletin board".

Katie Bain of Billboard wrote that Garrix and Lewis paid homage to American singer Bruce Springsteen with the lyrics "we had Springsteen playing so loud" in their track. She felt the song swelling and compelling "in the same style as many of Springsteen's biggest and most grandiose hits", noting that "Lewis' soaring vocals add to the effect" and that "all these elements making yet another bonafide smash from the EDM hitmaker". Writing for Dancing Astronaut, Farrell Sweeney noted the presence of "an energy-building violin line and acoustic elements" resulting from a song "vocal-led by Lewis's impassioned vocals, while Garrix foregoes a heavy electronic emphasis, trading it in for a subtle production backdrop accented with acoustics". Mike Wass of Idolator deemed the song "an emotional banger" and "a duo's genre-blurring bop", containing Dean Lewis vocals "over piano keys and strummed guitar".

" Los Angeles Times pop-music critic Mikael Wood also praised the album stating that the only negative aspect was that it did not "include anything from the out-of-print [...] alt-rock album that Carey secretly made in 1995 under the band name Chick." He praised the song "Here We Go Around Again" stating that her vocals were "precise as always" and praised her writing style saying that it was "already in a tune whose darting melody evokes the comings and goings of a guy who can’t make up his mind about her." Idolator writer Mike Wass also praised the album saying that "a collection of unreleased songs and B-Sides has no right being this good". He stated that "The Rarities is obviously essential listening for fans, but well worth diving into for general music lovers.

He also noted that Lo's "EDM-inspired album" had more substance than other similar albums. Maxie Molotov-Smith from Fortitude Magazine gave the album 4.5 out of 5 stars, praising the "stark heart-on- sleeve" honesty in Lo's lyrics and described the music as "expertly-crafted electronic pop music" with infectious hooks. Jon O'Brien from Music Is My Oxygen gave the album 4 out of 5 stars and praised Lo's standing out from the crowd, describing her album as a "refreshingly raw debut which casts Tove Lo as pop's premier hot mess". Kathy Iandoli from Idolator gave the album 3.5 out of 5 and praised the honesty of the lyrics and noted that Lo "has become masterfully adept at jamming thoughtful words into dancey songs through her past songwriting, but she takes it a step further with Queen Of The Clouds".

Rap-Up called the music video "sizzling" and "celebratory", praising the "feel-good" visuals directed by Terraro. The New York Daily News writer Victoria Taylor praised Lopez's physicality in the music video, stating: "The 43-year-old mother of twins proves she's still a fly girl as she bares her toned midriff [in the video]", also lauding the costumes she wore in it. Christina Lee of Idolator commented that the music video is "a flashy clip showing that even if Pitbull calls (okay, texts) and America’s Next Top Model alumnus Eva Marcille appears, J. Lo will still steal the show", while also stating that Lopez channels her "inner Baby" during the choreography. Peggy Truong of Celebuzz stated that the clip had a "dose of fabulousness" and a "handful of product placements", referring to the video's promotion of Ice-Watch, Nokia and Swarovski.

" He also wrote that " is the perfect sunshine-y ballad for the summer and it will most likely do well on Hot Adult Contemporary radio." Michelle Thompson wrote a positive review for The Tune, writing that on the album, the song "stands out the most with an absolutely infectious melody and hook, this is the track that will have you dancing nonstop, and it might get stuck in your head for a long while." Idolator staff wrote that "With a sweetly strummed guitar groove, charming reliance on la la’s and woo-hoo’s, and riding-in-a-car-with-the-top-down rhythm, 'Favorite Song' is instantly recognizable as a Colbie Caillat hit-in-the-making and Common lends a little hip-hop credibility to the track, offering three rhymed verses plus a little sing-song help later on.

Bradley Stern of Idolator wrote that unlike Duff's previous "folk-tinged" singles, "Chasing the Sun" and "All About You", "Sparks" marks the return to a "more familiar" dance-pop sound for the singer. The writer found the whistle breakdown in the song to be "unstoppably catchy", and wondered if it could be the "infectious hit" that she needs to be "propelled back onto pop radio". According to Vanessa Golembewski of Refinery29, "Sparks" has all of the defining characteristics of not just "a summer jam", but "the summer jam", writing that the beat is "good enough for both dancing and chilling out at home", and that the whistle is "definitely gonna be in your head for the next three months". Writing for Entertainment Weekly, Madison Vain called the song an "easy-to-digest summer jam" of the "most charming sort".

In his review of Prism, Sam Lansky from Idolator showed himself divided relatively to the song: he classified it as the "most sonically conventional thing [in the album]" although he immediately stated it was "also the most emotionally gripping" in it. Randall Roberts from the Los Angeles Times affirmed that the song was "cosmic" and that it had a "humming, dark tension in which Perry and melody float like red balloons". Helen Brown from The Daily Telegraph declared that, in the song, Perry "sounds like a woman, and an artist, who's finally found herself". Allison Stewart from The Washington Post said that "By the Grace of God" ranked "among Perry's strongest (tracks)", and that it was "her most strangely sensible and affecting song ever, one that distances her from her suddenly-more-callow-seeming peers and also from Brand".

Elite Daily ranked the song the third best break up song of 2018, for which author Hannah Schneider said Kiyoko "flipped the script on the age-old song about how a person's ex is seeing someone else" by "exud[ing] simultaneous confidence and vulnerability, that is simply contagious." Describing "Curious" as "extremely catchy," Marianna Rappa of Her Campus deemed the song a "gay anthem" and one of Kiyoko’s most popular songs. The Eagle's Dilpreet Raju agreed that "Curious" is among Kiyoko's most popular songs. Writing for Idolator, Mike Wass crowned the song "One Of The First Great Pop Songs Of 2018", hailing it as a "great addition to the canon of LGBT pop songs with its unusually honest and all-too relatable lyrics", while Rolling Stone wrote that the single "placed her at the forefront of an apologetically queer pop movement".

" He also commented on their work together on the song "Neon Lights" from Lovato's fourth studio album, saying, "She, in pop music, has one of the biggest ranges, possibly the highest full voice singer I've ever worked with." Tamsyn Wilce from Alter the Press commented on her vocals on Demi, stating "it shows just how strong her vocal cords are and the variation of styles that she can completely work to make her own." In a review of the Neon Lights Tour, Mike Wass from Idolator commented "you don't need shiny distractions when you can belt out songs like [Lovato] and connect with the crowd on such an emotional level." In a review of the Demi World Tour, Marielle Wakim from Los Angeles Magazine commented on Lovato's vocals, stating, "For those who haven't bothered to follow Lovato's career, let's get something out of the way: the girl can sing.

Idolator and MTV, twice, have listed "Unusual You" in pieces covering Britney songs that missed the single treatment, with Gregory Hicks naming it as the best Britney song not to be widely publicized. John Mitchell expressed: "[it] features the most compelling lyrics of any Spears song and represents one of the few times she’s addressed the private turmoil that culminated in a brief stay in a psychiatric facility [...]" Billboard's Dan Weiss called "Unusual You" one of her top ten deep cuts, though he opined that "it’s a little too bombast-free to have been a single, but you’re unlikely to find a better song in her catalog that never received its own promotional push." Entertainment Weekly placed "Unusual You" at number 52 in their ranking of her overall discography, while it came in at number eleven in E! News' ranking of her fifteen best songs.

Critics were divided in their opinions for the music video. In a more favorable review, Zayda Rivera of Daily News stated that Cyrus is "undoubtedly the star of the video" and that the "ultimate cameo takes place when Cyrus brings back the infamous foam finger she waved and gyrated against during her MTV Video Music Awards performance". Ray Rahman from Entertainment Weekly recognized the prominent 1990s influence throughout the clip, and felt it was "reminiscent" to the visuals for "Make 'Em Say Uhh!" by Master P. In a more critical review, Carl Williott of Idolator opined that the music video was "sort of like a massive hip-hop version of the "Smells Like Teen Spirit" video, with Air Jordans and Beats instead of anarchy symbols", while Kayla Upadhyaya from The Michigan Daily called it a "pile of red and black vomit and a poorly edited mishmash of uninspired shots".

" Similarly, Neil McCormick of The Daily Telegraph complimented the album for being "less of a mainstream crowd pleaser" but more of a "quirky, atmospheric electro R'n'B concoction with sci-fi sounds and offbeat vocal samples." He argued that this sound "[focuses] attention on the star's soft, supple and seductive singing" and concluded that "despite the presence of EDM star Skrillex amongst the production credits, surprising restraint is exercised throughout, with tracks rarely developing into full tilt techno anthems." Spin Andrew Unterberger praised the album, stating: "[B]y giving us the best album of his career, and subsequently re-ascending to Top 40's mountaintop, Bieber's answered his own question: In pop music, it's never too late to say you’re sorry." Bianca Gracie of Idolator agreed, claiming that the album "is no doubt Justin's best collective LP thus far and shows that he is finally confident in revealing his true artistry.

Upon its release, the music video received mixed reviews from critics. Idolator contributors Robbie Daw, Sam Lansky, and Carl Willott gave it mostly lackluster reviews. Daw considered that the release of such a "safe" video was a disappointment for Perry and expressed eagerness to her next single; while Lansky likened its "edg[iness]" to that of a "woman's antiperspirant commercial"; and the latter divided the video in what he considered to be of "good cheesy" and "bad cheesy": he highlighted the fake set, Perry's acting and the ending, but criticized the CGI, which he deemed "dopey", the product placement and Perry's "overly literal roar-off with a tiger". The only writer for the website that gave the visual a favorable review was Mike Wass, who appreciated the "campy element[s]" in it, while noting that it drew inspiration from the music video for "Doctor Jones" by the dance-pop group Aqua.

The album received generally positive reviews. AllMusic's Heather Phares gave the album a score of three out of five stars, highlighting the singles "Break My Heart" and "Guys My Age", as well as the songs previously included in their EP Brand New Moves (its title track and "Fuqboi"), saying: "While Hey Violet sometimes seem to have more personality than their material on From the Outside, they handle the album's many stylistic shifts without giving listeners too much sonic whiplash." "Guys My Age" was named one of the Best Songs of 2016 by The New York Times, who called it 'teen-pop's revenge: an urgent dark song about sexual rebellion' and one of the 20 Best Songs of 2016 by V Magazine. Idolator says the second single "Break My Heart" is a 'monstrous electro-anthem' and declares, the band is 'destined to have a massive year.

The album received a nomination at the 55th Grammy Awards for Best Alternative Album. It was named the best album of 2012 by Time Magazine, Stereogum, Spinner, and NPR Music's Fresh Air. It ranked at number 2 on the lists of Consequence of Sound and Entertainment Weekly, number 3 on the lists of USA Today and Pitchfork, number 4 on Paste, number 5 in Rolling Stone, number 10 on Idolator, number sixteen in Spin, number seventeen on American Songwriter and Filter, and appeared on NPR's unnumbered list. The album was ranked No. 10 in Pitchfork list of The 100 Best Albums of the Decade So Far (2010-2014), published in August 2014. Apple's track "Hot Knife" ranked at number twelve in Rolling Stone’s 50 Best Songs of 2012 list and "Every Single Night" ranked at number 7 on American Songwriters Top 50 Songs of 2012.

"The Art of Letting Go" was originally the title for Carey's fourteenth studio album, which was scheduled to be released during the spring of 2014, as well as being the second single, following statements that she wasn't ready to release the album in 2013 since she didn't want to "exclude meaningful songs", as well as sustaining an injury to her shoulder while recording the music video for the remix of "#Beautiful", which led her to spend time in recovery. On October 28, 2013, Carey uploaded the single artwork on her Instagram, also revealing that the song was going to premiere first on Facebook. The artwork shows Carey kneeling down on a beach in front of a sunset. Sam Lanksy on Idolator commanded the sexiness of Carey's emancipated body, commenting: [...]" Wearing a swimsuit thing on a beach against a golden sunset, sporting tousled waves, her body is emancipated — just like her spirit".

" Scott Shelter from PopCrush wrote that, "Despite the track's lack of originality, the beat is irresistible, and its lyrics about staying out all night are likely to resonate with summer partiers," and concluded by writing that it is "a song that succeeds in spite of its shortcomings." A writer for Beatweek magazine praised Derulo for sampling "Day-O" into the song's chorus, writing that "'Don't Wanna Go Home' is yet the latest evidence that Derulo can create a song in any genre, using any kind of samples, and turn it into a hit." Robbie Daw from Idolator wrote that, "Compared to his last few mediocre offerings, this single actually seems to have some fire" courtesy of the samples in the song. However, Daw concluded by writing that "if Derulo wants to achieve any kind of credibility in the pop world, he'd better establish his own sound fast.

Sal Cinquemani shares the same feeling on his review of the album for Slant Magazine, rating the album three stars out of five. He adds that the album fails to distinguish her from electro-pop artist Kesha while praising her rapping style, comparing it to that of Swedish recording artist Robyn, and the song "In the Dark" for blending European dance music with flourishes of Latin and Mediterranean music. Neil Miller, Jr. of UR Chicago rated the album three out of five stars (on the site, they use meatballs), calling it "one of the most unbalanced pop records" ever released. Idolator however claims that to peg Dev as a Kesha clone is dangerous as she has a greater air of mystery than Kesha and the positive review ends with "for those out there who like the soundtrack to their late-night fiesta to come with a bit more subtlety".

At the Children in Need Rocks Manchester concert on November 17, 2011, "Marry the Night" was performed as the final song of her set list, along with "Born This Way" and "The Edge of Glory". The performance was fast-paced and included a dance routine by Gaga with her dancers, for the first time. On the British comedy show, Alan Carr: Chatty Man, Gaga performed a piano version of the song, while decked up in a pink dress and a gigantic bow on her head, which prompted Becky Bain from Idolator website to comment, "It's been some time since we’ve seen Lady Gaga rock a bow on top of her noggin', and though the one she wore during her [performance] wasn't her signature hairbow, it still made a big (as in HUGE) impression." On the ABC special, A Very Gaga Thanksgiving, the singer performed an acoustic version of "Marry the Night".

For "Dangerous Woman", Grande planned to shoot two different versions of the music video. Grande previewed what became the sole accompanying music video for the single through social media on March 26, 2016 and March 29, 2016. The clip was officially premiered on Vevo in the night of March 31, 2016. Directed by production company The Young Astronauts. In interview with Idolator, Grande explained: “We’re doing two visuals because this song makes me feel two kinds of ways, it makes me feel sexy and glamorous — I wanted to do a simpler more glam-themed video — and then I wanted to do another video because it makes me feel... like a super version of myself in a way.” Discussing the song with Madeline Rotj from MTV, Grande stated about the concept behind the song's second video: > “This one's more cinematic and weird and tells a story.

A little of the real would go a long way after the smoke > and mirrors defining her career to date. Lansky was disappointed with the track, and wrote in his Idolator article that "Aura" consisted of all "the best and worst things about Lady Gaga amplified"; it was "weird and frustrating and great and terrible and brilliant and a failure all at once". Umema Aimem of The Washington Post criticized the song's lyrics: "The song actually started out well ... but then you lost me when you proceeded to turn such a sacred symbol of [Islam] into an exotic costume". Mark Hogan of Spin called it "a grasping EDM mess" and "all over the place"; he disliked the burqa lyrics, "along with plenty of moments that bring to mind all the 'blog house' producers following in the path of Crystal Castles or Simian Mobile Disco circa 2007".

During an interview with Idolator on January 16, 2018, production team The Stereotypes revealed that they have worked with the girl group for a "really cool" upcoming work. A week after, SM Entertainment announced through an image teaser posted on their official social media accounts on January 23, 2018 that Red Velvet would release The Perfect Red Velvet, the reissue title to their previous full- length release. The label further revealed that the re-release would include three additional new songs, including the lead single "Bad Boy", which was described as a song with a "sexy" or "girl crush" concept by South Korean news sites, which the group has never done before. Since January 26, teaser images of all members were eventually revealed through the group's social media platforms, with journalist Kang Seo-jung of Osen commented had the vibe of a powerful "eonni".

"Crave" was met with generally positive reviews from music critics. Writing for Rolling Stone, Rob Sheffield deemed it one of the "truly great Madonna moments" on Madame X. Also from the magazine, Emily Zemler referred to the song as "a sultry pop number about hungering for another person", praising Swae Lee's "smooth-talking verse". NMEs El Hunt called the song a "breezy, low-key moment" that recalls the feeling of "heartbreak" from Madonna's fourth studio album Like a Prayer (1989), "and yet sounds nothing like it". Writing for Idolator, Mike Wass felt it was "the third and (easily) most commercial cut from Madame X [...] a sexy, mid-tempo groove, it evokes the Hard Candy era, but the tone here is mellower and more romantic", ultimately concluding that "if radio didn’t ignore Madonna’s entire existence, it would sound perfect on pop and rhythmic formats". For Jeremy Helligar from Variety stated it "wouldn’t sound out of place on Ariana Grande’s latest album".

Idolator called the track a "soaring ballad" that "showcases the Brit's powerful pipes and poetic pen... a most auspicious debut." In April 2020, she performed a duet with Annie Lennox for the historic One World: Together at Home concert event organized by Global Citizen and curated by singer Lady Gaga, in support of the World Health Organization, singing a rendition of the Eurythmics track 'There Must Be an Angel (Playing with My Heart)'. This version of the song was later included in 'One World: Together at Home The Album', a compilation album featuring all performances from the event as individual tracks, and was made available on all major streaming platforms to raise funds. Lennox's second single 'Pale' was released April 17, 2020. The song "examines Lola’s own personal battle with grief over the tragic loss of a loved one", and was co-written with Andy Stochansky, produced by H. Scott Salinas, and co-produced by Annie Lennox.

He concluded his review, writing "unlikely to be a 3rd #1 for Fergie, and it may even struggle for top 10 status, but it is likely to linger as pleasant pop filler on the radio for the first few months of 2007." Spence D. of IGN called the song "somewhat generic", praising Fergie's flow and Ludacris' appearance on the track, but ultimately called it a "rather vapid exercise". Liz Black of Cinema Blend called "Glamorous" "a stunning account of her ability to keep it real despite life in the first class." Kelefa Sanneh of New York Times wrote "Glamorous" and "Clumsy" to be songs fans can savor. Brian Rafferty of Idolator praised it as a "perfect No. 1 for a quarter when there ain’t shit else going on" and called Fergie's mid-song interjection of "fuck y'all" more convincing than the profanities present in RJD2's The Third Hand (2007), naming it the best gratuitous curse word in the top ten.

The song received mixed responses from various music critics. Sal Cinquemani pointed to the tone of Del Rey's vocals and its break of cohesion from the other tracks on Ultraviolence saying "The hook of the bonus track "Florida Kilos," co-written by Harmony Korine, is marred by Del Rey's Britney-grade vocal infantilism, and while that might make it the perfect theme song for the planned Spring Breakers sequel, the song's pop bounce doesn't jibe with the rest of the album's earthier qualities." Justin Charity for Complex also described its more light hearted sound as "incongruous" with its parent album. Mike Wass wrote for Idolator describing the track as "an ambitious (but ultimately unconvincing) tale of love and drug smuggling in Miami". A review from The Fix by John Lavitt criticized the track for displaying "only a glorified nostalgia" of the cocaine scene in Miami in the 1970s and that combined "with the infantilized sexualization of Del Rey’s vocals", the track was "poised to attract controversy".

Since its release, "Used to Love You" has received critical acclaim from contemporary music critics. Madison Vain of Entertainment Weekly felt the song's "hyper-personal lyrics" were "immediate and affecting". Immediately following its release, Maeve McDermott from USA Today awarded the track "Song of the Week" in October, further adding that "[t]he song's spiritual sibling is another of Stefani's best works: 1996's No Doubt classic 'Don't Speak'," but noting that "this time around, coming from a more mature artist with fewer things to prove, the pain feels dizzyingly fresh." Bianca Gracie of Idolator praised the fact that the singer was "stepping away from the pumped-up vibes of previous tracks like 'Spark The Fire' & 'Baby Don’t Lie', also noting that "[h]eartache is immediately relatable (just ask Adele) and Gwen is often praised for her underrated slow songs [...], so it is refreshing to witness her jumpstart this current album era with a new vibe.

To Be Loved received mostly positive reviews from music critics. AllMusic's Matt Collar found that the album "isn't just a perfect showcase for Bublé's voice, it's also one of his most diverse and enjoyable albums." At The Canberra Times, James Baldwin told that Bublé "has a lot to deliver to keep both fans and critics impressed", which he noted that "Michael's voice seems to be getting better and better with each release", and called the release "perfect." Colin Stutz of Idolator said that "his performance is ever strong and mature" because "Buble uses that power to carry the album poignantly, be it songs he wrote or those by others." At The Oakland Press, Gary Graff stated that this effort is "indeed a buoyant affair, marked by love songs sung in his distinctive manner, something altogether different from the classical bombast of a Josh Groban or the crooner stylings of Bublé’s big band-fronting forebears." The Scotsman alluded to how "Buble’s slick vocals cannot be faulted throughout".

For Idolator, Mike Wass hailed it a "reggaeton-infused, oddball delight", and expressed the opinion that "the most pleasing thing [about 'Medellín'] is the core theme of letting go and taking chances". For Variety, Jem Aswad felt that while "Medellín" was not "the dancefloor-filling that fans might be hoping for, it's a sultry and promising introduction to Madonna's latest era". Sal Cinquemani from Slant Magazine compared the track to Madonna's 1987 single "La Isla Bonita", and highlighted her "sugary harmonies" that "balance out Maluma’s gigolo routine with a dreamy sweetness". In his review of the song, Owen Myers of The Guardian, said it was the singer's "most subdued lead single since 1998’s stately 'Frozen'"; nonetheless, he concluded that the song was a "potent reminder of Madonna's genre-mashing skills" and proved that she's "well equipped to weather the demands of today’s listening trends while bringing global styles into her own world".

While Nowels was in New York for the Grammy Awards in 1997, he met Madonna during a shopping expedition at Barneys. She later booked two weeks’ worth of writing time with Rick in his Hollywood Hills studio.Hit Writer/Producer Rick Nowels Talks About His Great Career, Working With Lana Del Rey, John Legend, Madonna and Santana at Songwriter Universe; by Dale Kawashima; published June 11, 2015; retrieved 2019 Together they wrote “The Power of Good-Bye,”Madonna's ‘Ray Of Light’ Turns 15: Backtracking at Idolator; by Stephen Sears; published March 4, 2013; retrieved 2019 “Little Star,” and “To Have and Not to Hold”, all featured on Madonna's seventh studio album, Ray of Light.Hits of the World at Billboard; published December 12, 1998; retrieved 2019Madonna: The ‘Ray of Light’ Cover Story, ‘Madonna Chooses Dare’ at SPIN; by Barry Walters; published March 3, 2016; retrieved 2019 Ray of Light won Best Pop Album at the 1998 Grammy Awards, where Madonna thanked Nowels from the stage during her acceptance speech.

PopCrush described the song as "heartfelt...one-of-a-kind" song as "the gem of the 'Glee' originals we've seen so far", noting it's "especially poignant" for "encompass[ing] the [Season 2] roller coaster ride" and for not providing "clear answers" to the "destiny" of Rachel and Finn's "broken relationship"; the site rated the song 4 and a half stars out of 5. Idolator called the song a "heartfelt ballad", and partially incorrectly predicted the song would "hit an emotional story beat possibly involving the on-again/off- again lovebirds working out their feelings for each other" rather than being performed as a song at Nationals. Blogcritics deemed it "a heck of a love duet", while Screencrave said it had "heartfelt lyrics and a performance to match by both." Twocents TV wrote the song was "not as good as Faithfully" (performed in the finale of Season 1 - Part 1) and that the "unprofessional and vulgar" performance "just added to the Finchel distaste".

" Mike Wass of Idolator claimed the track is "the duet we've all been waiting for" and "a swag-drenched hip hop/pop delight." Janice Llamoca of Hip Hop DX defined it as "a hip hop-slash-pop party anthem in which the emcee lyrically displays her confidence." Joe Gross of Rolling Stone gave the song a mixed score of 3 out of 5 stars, writing that Azalea "deftly handles the ratchet beat while Charli XCX's earworm hook holds it all down," writing that the song "[doesn't] bring '88 back [but] they can swing on chandeliers with the best of them". Jamie Parmenter of Renowned for Sound noted that the song showed the influence of Missy Elliott, and that "Iggy is almost playing a character or parody of herself like Eminem is renowned for," praising Charli XCX for "nicely breaking up the song, sounding like an edgy Gwen Stefani, matching with Iggy's rebel style.

Rob Me Blind is the third studio album of independent singer songwriter Jay Brannan after his albums Goddamned in 2008 and In Living Cover in 2009. The 10-track album on his own independent Great Depression Records was released on 27 March 2012 and was produced by Grammy-winning producer David Kahne who had produced albums for artists like Tony Bennett, Paul McCartney, Regina Spektor and others. With Kahne, he experimented in this new album with new arrangements and even using some percussion instruments,Idolator: Jay Brannan's Rob Me Blind - Review to the album although in his earlier material, he had tried to stay away from such usage, saying they were too loud. The result is still acoustic and melodic but with "some additional texture to it" as he put it in an interview with Instinct magazine The track "Greatest Hits" was the pre-release and first official single release from the forthcoming album.

Mike Wass, a writer for Idolator, wrote that "Lovebird" was one of the two best songs on Glassheart, along with the title track. He further commented that it had strong radio potential, and that it would be successful if it were to be released in the United States, as it sounds like a "clone" of "Bleeding Love". Digital Spy critic Lewis Corner felt that the song was reminiscent of "Bleeding Love" as well as "Better in Time". Although he noted that Lewis' vocal performance on "Lovebird" is very impressive, as with all her material, he was unsure of why it was included on the final cut of the album due to Glassheart having "bigger" songs on it, which were likely to chart better. The Mirrors Clemmie Moodie thought that although the recording is a "catchy" song, it does not compare to "Bleeding Love", but noted that it does contain "lyrical gems", including "Your lovebird's flyin’ away, ’cos my heart's been stuck in a cage".

" Maher adds "Jackson — who is still coping with the loss of her brother Michael — drew inspiration from her grief for her theatrical performance...transferring her sorrow beautifully into a moving and deeply heartfelt ballad." Idolator stated that the song "reminds us that, despite all the overproduction and sexed-up whispering on her last few singles, Janet can actually still deliver solid vocals—something that was hardly apparent on “We Are The World 25". Entertainment Weekly described the song as an "airy ballad, on which she cries out for more communication in a troubled relationship." Deborah Vankin of The Los Angeles Times called it "a touching, melodic ballad about truth, trust and relationships", adding that the song is "generating almost as much Oscar buzz as it feels riddled with grief [...] Even though Jackson says "Nothing" is not about her brother, whom she won't talk about much these days, the song's melancholy and emotional grit leads one to wonder.

The Fader included it in their "11 Songs You Need In Your Life This Week" list, describing it as a "euphoric, super danceable breakup jam". Nate Scott of USA Today ranked it number two on his "10 best songs of the week" list, calling it "another step in the right direction," noting that "the dancey track has verve and Malik's voice shows some range." Lewis Corner and Amy Davidson of Digital Spy also included it in their "10 tracks you need to hear" list, stating that they "were still waiting for that BIG pop banger we know he's capable of" and that "Like I Would" is "just that and then some." Corner later added that the song is "screaming louder than Zayn's fans to be a number-one hit" as the "hook is contagious, the lyric is swoon-worthy arrogant, and the chorus is enough to pop off arena ceilings across the globe." Robbie Daw of Idolator called it "a glorious ’80s throwback".

Sal Cinquemani from Slant Magazine was initially dismissive of the version performed at the iTunes Festival due to its "bland" arrangement and "elementary" melody, but reacted well to the new version on Artpop, saying: "Gaga has been very public about her supposed battle with addiction, and whether or not it's just another costume for the singer to wear, she's nonetheless composed a convincing anthem of remorse." Idolator reviewer Christina Lee believed that with "Dope", Gaga had found another novel way of stripping herself down in the song, and complimented the singer's vocals in the song. Michael Cragg from The Guardian, who was granted an early listen to Artpop, felt that the song was an emotional highlight of the album, denoting it as the record's "one real moment of calm" and "the album's most tender moment". However, Cragg was skeptical about the line "I need you more than dope", feeling it to be a less impressive comparison.

"Heavy Crown" is a hip-hop, pop, electronica track that runs for a total duration of three minutes and fifty-two seconds. Bianca Gracie from Idolator observed that "the hard-hitting, thumping tune finds Azalea switching up her usually laid- back flow with a snarled, teeth-baring rap — which is juxtaposed by Goulding's chilling vocals.", while Jonathan Viray from HypeTrak described the song as an "aggressive, warmongering track dedicated to her haters." Jim Farber from the New York Daily News commented that "'Heavy Crown' has a tribal rock beat and a cocky cameo vocal from Ellie Goulding", and went on to analyse the lyrics, referring to Azalea's dispute with Snoop Dogg, "one new verse from Iggy addresses a recent, and light-hearted, beef. 'Get rid of the makeup/let’s be just who you is,' Azalea raps at one point, alluding to a series of tit-for- tat spats in October with Snoop Dogg.".

Mike Nied of Idolator described the song as "an ode to perseverance and overcoming the odds", "a string-led gem with a thoughtful message [on which] Louis sings about overcoming obstacles between him and a loved one". Writing for MTV, Madeline Roth called "Walls" "an emotional declaration of strength" on which Tomlinson "acknowledges the struggles he's faced with introspective, heartbreaking observations", "cracks the sadness open and lets a little light in by revealing that the hard times have made him a stronger man", and praised the addition of a live orchestra to the song which "ups the emotional ante" and "takes this ballad to beautiful heights". Charu Sinha of Vulture called the track "slow and introspective", "easy listening, lonely pop rock reminiscent of the 2000s (think early Green Day, but with an inspirational, self-help slant)". Phil Arnold of Music Talkers called "Walls" "a very good song, with all the components that will appeal to a wide demographic" and praised its "smart production" and Tomlinson's "accomplished song-writing" and "mature vocal".

Stephen Thomas Erlewine thought that "Thunder" and "Fire Under My Feet" were some of Lewis's "strongest compositions" to date, and added that they are "sharply crafted and passionate". Digital Spy writer Lewis Corner thought that while Lewis does not appear to have reinvented her sound, her new sense of passion "leads the tried and tested formula with a hefty charge". He listed "Thunder" in his top four tracks to download from I Am, along with "Another Love Song, "Power" and "I Got You". Both Kathy Iandoli and Robbie Daw of Idolator praised "Thunder": the former described the track as "equally anthemic" as "Fire Under My Feet" while the latter wrote that it is a "soulful, soaring ballad" which, as with many of Lewis' songs, is difficult not to get immersed in with its strong emotional sentiment. Knoxville News Sentinel writer Chuck Campbell highlighted it as one of the albums many great tracks, writing "Lewis lassoes the rumbling beat of opener 'Thunder' to announce her return – and she’s off from there.

Beyoncé performing "Naughty Girl" with onstage pyrotechnics Mike Wass from the website Idolator called the show a "concert extravaganza in the style of Michael Jackson or Madonna" praising the fact that the singer made a progress in the production values compared with her previous performances, mostly due to the expensive and high-quality visual projections which "create atmosphere and add another layer to the production". He further praised the singer's "extraordinary talent" during the performances hailing her as "the greatest entertainer of her generation" after seeing the show which showcased "an icon at top of her game". Tiffany Poole from The Oklahoman praised the fashion, video backdrops and "some of the most impersonated dance moves on YouTube" concluding, "To say that Beyoncé puts on a good show would be grossly understated." Billboard writer Gail Mitchell hailed the concert as a "musical and visual extravaganza" complete with a kaleidoscope of colorful imagery and dancing, which according to him enhanced the music complete with the singer's strong vocals, rather than overshadowing it.

"Finally Found You" was written by Enrique Iglesias, Sammy Adams, soFLY & Nius, Jacob Luttrell, Fadil El Ghoul, Fabian Lenssen, and Yoan Chirescu, while production was handled by soFLY & Nius (known for their production work on Flo Rida's hit single 'Wild Ones'). "Finally Found You" features a rap from Boston rapper Sammy Adams and is a dance-pop and electro house song, with sparkling synths. According to PopCrush's Scott Shetler, sonically, the song features exactly the same dance-pop vibe of the singer's recent hits like ‘I Like It’ (2010) and ‘Dirty Dancer’ (2011). Lyrically, "Finally Found You" sees Iglesias finding the love of his life at a club and declaring to never her let go, asking his "object of affection to ignore the advice of her friends and to stick with him till the end". In the chorus, Enrique sings, "In this crazy world the choice is ours, only got a few / either you’re coming with me or I’m coming with you / ’cause I finally found, I finally found you," with "heavily processed vocals", according to "Idolator"'s Robbie Daw.

In 1961, Meriwether guest starred once as Gloria in the episode "Buddy and the Amazon" on her first husband's (Frank Aletter) one-season CBS sitcom, Bringing Up Buddy. She also appeared in Leave It To Beaver episode "Community Chest" in season four. In 1962, she was cast as Martha Elweiss in the episode "My Child Is Yet a Stranger" on the CBS anthology series, The Lloyd Bridges Show. She played Nurse Dickens in a 1962 episode of the ABC sitcom, I'm Dickens, He's Fenster. From 1963 to 1965, she was cast in different roles in eight episodes of the NBC medical drama, Dr. Kildare. In 1964, she played the character Jeanelle in "This Is Going to Hurt Me More Than It Hurts You" on the CBS adventure series, Route 66. In 1965, she appeared in an episode on The Jack Benny Program as The Secretary. In a 1965 episode of 12 O'Clock High, "Mutiny at Ten Thousand Feet", she played Lieutenant Amy Patterson, and in the episodes "The Idolator" (also 1965) and "The Outsider" (1966), she played Captain Phyllis Vincent.

Mike Nied from Idolator named the EP as one of the rapper's most consistent offerings, stating, "There is none of the shimmering pop aesthetic that helped her top the Billboard Hot 100 with "Fancy" in 2014. However, she is just as alluring without the supersized hooks and singalong choruses that defined some of her biggest hits." Writing for Stereogum, Chris DeVille remarked, "The dark trap beats are sufficiently booming; Azalea's rhymes are confident and charismatic despite also ranging from uninspired," and declared that "it’s hard to imagine her returning to full bloom, but for better or worse Azalea seems poised to endure into autumn and beyond." In a review for Slant Magazine, Alexa Camp characterized Survive the Summer as "consistent to a fault, laser-focused both sonically and thematically, abandoning the groove centricity of singles like the slept-on banger "Mo Bounce" and the recent "Savior", adding that "All six songs are uniformly dark, weird, and minimalist, with stark verses filled almost exclusively with assertions about Azalea's figurative and literal assets.

At Idolator, Mike Wass felt that "every track exudes the glitter, fun and nostalgia of a bygone era" and that "Dancing Queen, while disappointingly brief, covers all bases from dreamy disco moments and emotional ballads." In a positive review for The Guardian, it was noted that "occasionally Cher uses her trademark Auto-Tune like a crutch [...] but mostly it acts as a kind of interstellar portal that elevates Abba from the dancefloor to the cosmos." In a review for The Times, Will Hodgkinson was less positive; he stated that the album delivered "exactly the results you would expect" and that "There's nothing to dislike, but also nothing to recommend beyond this being a fun, tacky choice for the Christmas party." Rolling Stone placed Dancing Queen on 5th place of all pop albums released in 2018 as well as placing Cher’s version of "The Name of the Game" as the 22nd best song of the year. The album’s music video of "SOS" was ranked as the 18th best music video of 2018 by Paper.

" AllMusic's Stephen Thomas Erlewine and USA Today's Patrick Ryan both agreed that the song was an album highlight, with Ryan adding that it was "perhaps Rihanna's best shot at scaling the pop charts with Anti and praised the "effectively catchy" hook. Chris Gerard of PopMatters defined it as "a moment of classic Rihanna—edgy, soulful and confident, complimenting the "sinuous melody" and the "terrific vocal arrangement." Spin editors Safy- Hallan Farah and Eve Barlow named it "a highlight" and "as triumphant a Prince jam as it gets" respectively. Zach Bernstein of Pretty Much Amazing observed that the song is "one of ANTI’s best offerings and a pure shot of old-school Rihanna—a stuttering, hypnotic beat, by a hard-rock guitar riff and an innuendo about as subtle as a sledgehammer." Corbin Reiff of The A.V. Club was very positive with the "gorgeous array of ’80s power rock electric guitar lines," with Bianca Gracie of Idolator sharing the same sentiment, writing that "th[e] heartbreaking electric guitar riff alone deserves a couple of future nominations," and labelled it "one of the strongest tracks off ANTI" and "all-around beautifully intimate.

Adrien Begrand from PopMatters felt that the simplicity of the album made it a "classy piece of work" and commented that Minogue's experience and choice of collaborators resulted in "the thirtysomething Minogue upstaging soulless, brainless music by younger American pop tarts like Britney [Spears] and Christina [Aguilera]". Robbie Daw from Idolator pointed out that Britney Spear's recording of her 2004 hit "Toxic", Madonna's comeback album Confessions on a Dance Floor (2005), Paris Hilton's musical debut Paris (2006), and radio stations' shift towards playing "more groove-oriented sounds" all followed the release of Fever, although he admitted that "we have no way of knowing whether Kylie Minogue's eighth studio album was directly responsible for these pop happenings". Chris True from AllMusic, in his biography of Minogue, commented that the release of the album and lead single "Can't Get You Out of My Head" cemented her position as an international music icon, saying "Her place in pop music history would be consolidated in 2001, and she would be reintroduced to America after more than a decade as well". Fever also brought Minogue a number of accolades and award nominations.

Alex Gallagher of NME described the song as an "assertive disco-tinged bop". Praising its lyrics he stated, "The lyrics to 'Midnight Sky' see Cyrus asserting control and independence, with the singer declaring 'I was born to run, I don't belong to anyone/ Oh no, I don't need to be loved by you,' on the track's rousing chorus". Similarly, Michael Cragg of The Guardian called the song a "disco- tinged, post-divorce banger", commenting that it "sounds suitably refreshed after the double-meh of 2017’s country singer rebirth and last year’s, erm, 'Cattitude', 'Midnight Sky' is everything all that wasn’t: impassioned, energised and delivered by someone brave enough to sport a platinum-blonde mullet". Mike Wass of Idolator described the song as a "dreamy disco anthem"; he praised the personal lyrics stating that "the first taste of MC7 is a deeply autobiographical account of the pop star's emotional journey post- divorce". The New York Times' pop critics ranked "Midnight Sky" as one of the week's most notable releases in their weekly updated column "The Playlist", where Lindsay Zoladz highlighted that "Cyrus’s punchy, muscular alto is the true center of this song’s power".

That month, she clarified that "[she] respects all artists who speak their truth and appreciate all genres of music" and elaborated on her preference for "uplifting, conscious rap" over the sex- and materialism-based lyrics that she explained "pushed [her] out of the hip-hop scene a little" in the article. Cyrus issued another apology in the comments of a YouTube video titled "Miley Cyrus Is My Problematic Fav...Sorry" in June 2019, where she wrote that "[she] fucked up and [she] sincerely apologizes" and expressed regret that "[her] words became a divider in a time where togetherness and unity is crucial." In November 2018, Mike Wass from Idolator commented that Younger Now was "a potent reminder that you don't need dozens of collaborators and an A&R; team the size of Texas to make an excellent pop album" despite not being "the sequel to Bangerz that [her fanbase] secretly wanted" and not having "obvious singles." He felt that the title track combined the "pop hooks and meme-friendly lyrics" of "Malibu" with the "mood and emotion" of the album, and "holds up as a warm ray of light in Miley's discography" whose underwhelming performance was inexplicable.

" Writing for Idolator, Robbie Daw, Carl Williot and Mike Wass reviewed "Dangerous Woman" during their "Pop Perspective" article, with Daw calling it "one walk of danger worth taking", Williot praising her vocal performance and highlighting the "clever little flip of '(You Make Me Feel Like) A Natural Woman'", and Wass naming it a "decent song" but noting that "[she] still hasn't found her own lane." Lewis Corner from Digital Spy praised Grande's vocals, describing as "angelic" and completed writing it "almost sound too pure over the seductive guitar line and prowling beat, which threatens to blindfold you and tie up your wrists within one listen.". Reviewing the album with the same name, the editor from Sputnikmusic described the song as "the first moment that the album really shows flashes of becoming something special," and continued, "as it sways to a seductive beat that feels like it was extrapolated from the most revealing scene of a James Bond film." Quinn Maryland of Pitchfork shared similar opinion, the reviewer described it as "a slinky, empowered, Bond theme of a belter;" Brennan Carley of Spin opined that "without a doubt, the most mature piece of music she's released to date.

" He also praised the producer Young Fyre for "keep[ing] the song from veering into parody by going retro with a doo-wop swing that would make Meghan Trainor jealous. Plus, it's a reminder that Spears, when she's not reaching the rafters with her breathy cooing, has a growling lower register that doesn’t get used enough." In a less favorable review, Robbie Daw of Idolator thought that the song "is Britney sounding her most Chipmunk-like, singing sexy lyrics about stripper poles through filters and studio wizardry atop a throwback soul track. The aim here may be seduction, but the song comes off more comical than anything else, thanks to Spears’ bizarre vocals." Michael Cragg of The Observer, Nick Levine of NME and Sal Cinquemani of Slant Magazine considered the song a "misstep", with Cragg referring to it as "horrendous," Levine opining that "Spears doesn’t have the lung power to pull off vampish R&B; tracks like ‘Private Show’," and Cinquemani saying that the song is "as sexy as getting a lap dance from someone with the flu, as Britney's trademark adenoidal whine sounds more like a sinus infection.