Tag: Ida LaFontaine

Tim: Quick note in advance: I’m fairly sure you’ll like the audio here, but be prepared that the video comes with some proper Hollyoaks-level drama, so you might want to make sure your emotions are in check first.

Tim: There are some singers you know you can rely on, that you’re almost certain won’t bring out a duff track. Until yesterday, Ida was four for four here, and I’m happy to make that five for five.

Tim: Well, there are negative points: the beat underneath the verses, for example is largely uninspiring, and so reminiscent of Umbrella that I can’t quite work out if it’s a sample or a loop that’s just far enough away not to get sued.

Tim: There’s also the utter pointlessness of texting someone to tell them you’ve got a new number but not say who you are.

Tim: On the other hand: I love that chorus, I really really do. It’s fantastic, and I will SLAY anyone who says otherwise.

Tim: I also love that middle eight (despite it not finishing with a key change, as anyone sensible knows that it should). In all, those vocals, those choruses and that middle eight more than – vastly more than – make up for any shortcomings. It’s great.

Tim: Do you really know where we’re going, Tom? Do you really care where it ends? Because Ida doesn’t, and to be honest this song kind of makes me want to agree with her.

Tim: I’m not surprised, because what a song, or at the very least what a chorus. It’s not much of a dance track – starts out more as a vibrant country number, really – but that first chorus got my hands involuntarily slapping the desk, and then when the song returned for the closing section, BAM my head started moving and I DID NOT WANT TO STOP.

Tim: Well, I pushed play again, and not long after my hands were clapping and it was all I could do not to jump around the room.

Tim: Am I just in a very excitable mood? Perhaps. But is this a great track regardless of that? Definitely.

Tim: I’ll leave you to insert a “ha, Tim on the dance floor” joke —

Tim: — but this is the new one from Ida, the Swede who’s previously brought us the rather enjoyable YOLO and Anthem. (Incidentally, if you’re like me you’ll spend the first couple of minutes not paying attention because you’re thinking “who had that big song called this?” before realising you’re think of Rihanna’s Shut Up & Drive; saved you a bit of time there, you’re welcome.)

Tim: And that there, once I’m able to pay attention to it, is an incredibly enjoyable pop song, one of my favourite in a while.

Tim: Right, it’s got everything: great chorus (and verses, for that matter), fun video (skateboard moment in particular), nice melody (with some lovely ooh-ooh-ooohs in the background) and generally just the whole package, all adding up to a song that really, really stands up to repeated listening.

Tim: Speaking of the lyrics, I’m with Ida on this one: people should be direct and really just get on with stuff, because otherwise life would be really quite dull and 1920s. Let’s LIVE FOR WHEN WE ARE, guys.

Tim: You may remember YOLO, or quite possibly you’ve attempted to purge it from your memory. Either way, Ida’s back with this, with a surprisingly self-defeatist chorus line.

Tim: Now, I know where she’s coming from – very often, there’s not anything on the radio I want to here. I do sometimes want to put my anthem on. But no offence, Ida: this here’s not particularly anthemic.

Tim: It’s a good track, sure, with nice production, a good example of the female almost-shouting vocal that’s so in fashion, and well-meaning and identifiable lyrics. But you need to get on to that lyricist, because halfway through this, if I’m paying attention to it, I’m gonna be switching it off.

Tim: Nice lyric video, though, even if it doesn’t realise how much gravitas one should pay to the word ANTHEM.

Tim: Yes, I know. But have a listen anyway.

Tim: So despite That Title, it’s a pretty good track.

Tim: Well, fair play to them, they’ve resisted outright saying it a lot more than they could have – yes, the middle eight is full of it, to an horrific extent, but all the rest is somewhat tame. After all, the ONCE shout at the end of the chorus could easily be replaced by a YO, with the first (and probably many more) of the following ‘oh’s replaced by a LO. So I suppose well done to whoever had the final say there.

Tim: Pretty great, in fact; whatever your thoughts are to the particular ‘word’ it’s a decent piece of pop. Big chorus, big verses, a decent voice – the only problem is that middle eight which is basically just shoutiness. So basically the song is fine except for that middle eight. Oh well.

Tim: Cannot deny: that is true.