Synonyms for maeve_mcdermott or Related words with maeve_mcdermott

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Examples of "maeve_mcdermott"
Zach Frydenlund of "Complex" said the song was "made for radio", and noted that Brown "actually lays down a pretty fire verse". Courtney Buck of The 405 felt the track was "slickly-produced" and described it as "delicately laced with pop pristine that has a much wider appeal to some of her earlier material". "USA Today" named it their song of the week; writer Maeve McDermott complimented its pop and dance music direction. Alex Hudson of "Exclaim!" wrote, "The words 'featuring Chris Brown' aren't exactly a strong selling point due to the singer's questionable personal life," but found "Player" to be "a banger" nevertheless and praised Tinashe's "catchy" melodies.
Speaking of their collaboration, Scherzinger said, "He is so much fun. He's so humble and he just makes you feel good. We are so grateful that [Busta] did it and was a part of it with us. We feel blessed." The song's lyrics is about "taunting a hapless man with the lyrics, "Don't cha wish your girlfriend was hot like me / Don't cha wish your girlfriend was a freak like me". The chorus of the song is based on Sir Mix A Lot's song "Swass" (1988). Maeve McDermott distinguished "Don't Cha" from other girl group songs like "Wannabe", "Independent Women" and "No Scrubs" which promote female camaraderie. Marisa Meltzer of "The Daily Beast" felt that the song's lyrics "put forward the belief that a woman's worth lies solely in her appearance and sexual permissiveness and just furthers the notion that women are in competition with one another over men."
"Smoke Break" garnered some controversy upon its release, after some listeners accused the song of "trying to promote smoking". Journalists for vehicles such as "Vulture" and "USA Today" went on to defend the song. Dee Lockett of "Vulture" stated that the accusation "misses the point" and defended it by saying that "like many of Carrie's narrative-driven songs, though, she's making a larger point. A 'stiff drink' and a 'long drag' are just placeholders for any vice the overworked might depend on to survive. The concern isn't how Americans cope with their blue-collar lives (though she's by no means undermining the severity of addiction); it's the culture of stress that suffocates everyone that should piss people off". Maeve McDermott of "USA Today" says "the song is less a pro-cigarette anthem as it is a tribute to sneaking away from your responsibilities and taking a minute to breathe".
Stereogum's Chris DeVille wrote, "Despite its funky digital beat, rap-inflected hook, and playfully tweaked guitar twang, it might actually go over pretty well on country radio if enough programmers gave it a chance. That said, this computerized juke-joint party track is far from M.O.R. by Nashville standards". Carey O'Donnell from "Paper" magazine called it a "foot stomping, hand-clapping rock pop track", but said it sounded better live. Stephen Thomas Erlewine from AllMusic called the song "riotous". "The New York Times"s Jon Caramanica felt that "A-Yo" sounded like a Britney Spears parody or a song drawn from one of those live musicals that have been littering network television since the demise of Glee". Maeve McDermott of "USA Today" was negative, saying "songs that sound most like Gaga's earlier hits" like "A-Yo" were "Joanne"s weakest moments.
The song received mostly positive reviews from music critics. Steven J. Horowitz of "Billboard" gave the song a rating of 3.5 out of 5 stars, calling it a "surefire radio hit" and "a spicy kiss-off." Maeve McDermott of "USA Today" agreed, calling it "equally ubiquitous as Martin's latest smashes," also naming it "a radio-ready anthem". Matthew Horton of "NME" perceived that "[t]here's something of Sheeran in the delivery too," noting that "Goulding sounds like she's toasting as she gets her point across as economically as possible, quickfire lines filling dense, juddery verses" and naming it a "promising switch, whatever the intrigue." Carolyn Menyes of "Music Times" noted that "[t]he single maintains the drippy guitars and play of Goulding's hushed vocals. However, the song gets launched to a new level with some booming drums and a drop that's more similar to hip-hop than something from the discography of Calvin Harris."
Writing for "The A.V. Club", Annie Zaleski commended the "genre fluidity" of "Joanne". Rating it B, Zaleski noted that songs like "Diamond Heart", "John Wayne", "Sinner's Prayer" and "Hey Girl" besides being the best tracks from the album, also highlighted Gaga's vocal prowess. In a three-out-of-five-star review for "Slant Magazine", Sal Cinquemani criticized the album for its oversung ballads and lack of strong hooks, but deemed it more consistent and focused than "Artpop". Maeve McDermott from "USA Today" complimented Gaga for "expanding her artistic vision and toying with different genres [on the album], while still recording the customary pop tracks listeners have come to expect". Andy Gill gave the album three out of five stars in a review for "The Independent". Gill said that the album's rock leanings largely work, praising Homme's work on "A-Yo" and "John Wayne" as highlights, though he called "Perfect Illusion" dull.
"On My Mind" was written by Ellie Goulding, Savan Kotecha, Max Martin, and Ilya Salmanzadeh, with the latter two serving as the song's producers. According to the sheet music published at by Alfred Publishing Co., Inc., the song is written in the key of D minor, with a moderate tempo of 156 beats per minute. 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.
Leah Greenblatt of "Entertainment Weekly" cited the song for being "stripped down for maximum aerodynamics, the vocals mentholated and sweetened with a brushstroke of bass here, a snake-charmer synth line there." Andy Kellman of AllMusic selected the song as one of the album's highlights, citing the song and "What Do You Mean?" as tracks that "showed him making a deeper connection with his material and that, yes, he was progressing from performer to artist." Brad Nelson of "Pitchfork" also praised both songs for being "vivid tropical house tracks that sound like sunlight drifting down through palm fronds. Bieber's voice often resembles a breath contorted inexpressively through notes; here, he lets it weightlessly fall through textures. They are his best performances to date, allowing him to flex a rhythmic playfulness without communicating an iota of legible emotion." "USA Today" Maeve McDermott wrote: "'Sorry' is just as much of an earworm as his previous single 'What Do You Mean?', with the same summery neon-hued electronic production." 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."
Natalie Weiner of "Billboard" thought that the video for the song was one of the 11 best videos ever done by Rihanna and described it as a "fitting flex" for the singer and represents that the sexiness she presented in the visual for her 2013 single, "Pour It Up" "was just the beginning of her pulse-quickening powers." Laura Bradley of "Slate" magazine described the video as a departure for the both videos for "Work" with regards to her decision to star alone and shot the video only in black-and-white, reasons which ultimately gave the video a different vibe according to her. Maeve McDermott of "USA Today" described the video as "somewhat" NSFW regarding the language and the partial nudity and concluded by asking, "but would you expect anything less from a Rihanna video?" "Vogue"'s Mackenzie Wagoner wrote, " In every instance, however free her nipple, she manages to look empowered, not vulgar—speaking to an obvious body confidence that, especially in the spotlight, can be hard-won." Further, she called Rihanna "evolved rule-breaking" and wrote that she is not a "factory-bred" sex symbol, but a woman who is fully comfortable with her body image.
Brennan Carley of "Spin" opined that "without a doubt, the most mature piece of music she's released to date. [...] The song's smart, sexy, captivating, and sung to total perfection." Tufayel Ahmed from "Newsweek" as well praised the song's maturity.'s Sean Fitz-Gerald expressed that "Dangerous Woman" "flaunts the pop star's vocal control, starting out as a seductive whisper and slowly swelling into a heavy, swaying ear worm". Writing for "AXS", Lucas Villa compared the song to The Weeknd's 2014 single "Earned It", saying that Grande "embrace[s] her grown woman side." He also added that "Ariana's powerful pipes take femme fatale to a whole new level." Maeve McDermott of "USA Today" considered it "her own version of a slinky Bond theme", while Jessie Morris of "Complex" called it "enchanting". Ailbhe Malone from "Irish Times" described the recording as "slinky and sexy, but tongue-in-cheek too. Imagine it as part of a Spotify playlist with Selena Gomez's 'Hands to Myself' and you're on the right track." "Rolling Stone" wrote that "the thrush-size diva with the five-alarm vocal power knocks out a sumptuously bluesy ode to her own awesomely lethal ladyhood." The magazine also named "Dangerous Woman" one of the thirty best songs of the first half of 2016: "This sultry, clever, bluesy stalk is full of unlikely patterns and pitch jumps, not to mention a guitar solo that explodes into Nintendo pixels and a vocodered outro. But for all its unique filigrees, there's an unstoppable chorus for one of pop's most pyrotechnic voices."
Larry Bartleet of "NME" wrote that apart from the "consistent songwriting clout that elevates this album from recent efforts by Grande's teen-star peers, Demi Lovato and Selena Gomez", the "modish message of empowerment feels honest coming from Grande." Michael Cragg from "The Observer" noted that during her successful previous album she had lost her identity in the process, but in comparison, he noted that the album is a "refinement of her sound", and concluded that "held together by Grande's skyscraping voice, "Dangerous Woman" throws a lot at the wall and, brilliantly, most of it sticks." Erik Ernst of "Milwaukee Journal Sentinel" opined that "like much of the disc, it's an unexpected, but remarkable, choice from a confident pop star ready to set her own path to the top." Maeve McDermott of "USA Today" summarized that "Dangerous Woman", "like its title suggests", is "a mature portrait of an artist blessed with one of pop's strongest voices, brimming with potential hits." Quinn Moreland of Pitchfork viewed that "Grande does not need to force any sort of spirit, she is full of it already. She just needs to find the Dangerous Woman within herself and let her break free."
Brittany Spanos of "Rolling Stone" called it an "hypnotic, catchy single." A writer of "Fact" described it as a "chart-ready polish, hitting the sweet spot between Jamie xx’s bass-heavy pop and the post-Popcaan trend for featherlight dancehall a la Bieber, Drake and Rihanna." Jessica Goodman of "Entertainment Weekly" named it a "hazy and club-ready [track]." Lewis Corner of Digital Spy was also positive, noting that it is "a pretty decent effort" [...] subtly infectious with its tropical electronics and buoyant beats." Katie Rife of "The A.V. Club" praised its tropical vibe, saying that it "suggest[s] you’ll be hearing this song on outdoor patios and mall PAs alike this summer." Rife also compared Keys to Rihanna and Ellie Goulding, a sentiment echoed by Maeve McDermott of "USA Today", who noted that "the singer's new look sounds good on her," calling it "a song clearly positioned for a big summer." Jamieson Cox of "The Verge" labelled it "humid and subdued, and Keys turns in a vocal take that impresses with subtlety rather than firepower." Sal Cinquemani of Slant Magazine was very positive, writing: "With its sensual, forward-minded production and more mature themes, the song recalls Keys's under-appreciated 2009 single 'Try Sleeping with a Broken Heart.'"
Maeve McDermott and Patrick Ryan of "USA Today" included "Send My Love (To Your New Lover)" in their list of 2015's 50 best songs. McDermott wrote "this song is among the most interesting of her career" and likened it to the works of Elizabeth Fraser. "Complex"s Michael Arceneaux thought that the track was the least sad song on "25", and added "It’s a little melancholy, but it comes with some shimmy-inducing production". "Business Insider"s Tony Manfred opined that the song strays from Adele's previous work, writing "she wades into the waters of contemporary pop music like never before". Nick Messitte of "Forbes" gave the song a positive review, writing "It’s got the grace of damning individuals without sinking to their level; it boasts nostalgia—not the least of which for a sound popularized in 2013", and opined that Adele didn't let Max Martin overpower her sensibilities. "Vanity Fair"'s Josh Duboff called "Send My Love (To Your New Lover)" "the poppiest song Adele has ever recorded" and named it his "pick for the breakout track on "25"".
"Burnitup!" received positive reviews from music critics. "Billboard"s Colin Stutz called it a "club-ready jam". Shenequa Golding from "Vibe" noted that "Missy infuses her signature personality on the electronic single, while Janet's smooth voices coats the fast-paced track". Alex Hudson of "Exclaim" commented that Elliott, combined with the song's "thumping electronic swagger and DJ-encouraging melodies", makes it an energetic pop anthem. Francesca Dunn from "i-D" complimented Jackson's "joyously hooky vocals" which she displayed around the track. "Spin" magazine's Brennan Carley noted that "heel-nipping track featuring Missy Elliott [who is] in fine form, doing a tongue-twisting verse to usher in Jackson's perfectly aerated harmonizing". Maeve McDermott from "USA Today" was positive, saying "Ms. Jackson doesn't just make music for the bedroom—Burnitup! seems tailor-made for booming club speakers, all anchored by drill-sergeant rapping from—yes, she's baaaack!—Missy". James Vincent, writer for "The Verge", noted that both artists featured on the song have been relatively absent from the music world for a while, and "Burnitup!" shows why it is good to have them back.
"Billboard"s Erin Strecker thought that Zayn "channels his inner Justin Timberlake" on the track, which according to him, "it wouldn't be a stretch to assume this is Zayn's musical response to a year of rumors, in fighting, and big changes with his former boy band." Similarly, Tim Sendra of AllMusic, defined it as "a nice midtempo disco-influenced track that sounds like something Justin Timberlake might have done at one point." Brittany Spanos, writing for "Rolling Stone" praised his falsetto, noting that it "hark[s] back to his memorable contributions to One Direction songs like 'You & I'." Robbie Daw of Idolator declared that the song was "easily the best of the bunch, to-date, and it has Zayn coming off as he should at this point: Like a true Pop Star." Maeve McDermott of "USA Today" agreed, enjoying "its shadowy beats and Miguel-channeling vocals deliver like nothing we've heard from him before. Added bonus: some classic Zayn falsetto." Leah Greenblatt of "Entertainment Weekly" picked it as one of the album's best tracks, defining it as a "disco-kissed venture into light-fantastic funk."
"Bustle"s Shannon Carlin praised the release of the video, saying that the singer managed to turn it into an event with its premiere at the "Billboard" Music Awards. She also commended it for giving viewers an opportunity to see the singer's dance moves. Evan Minsker and Noah Yoo of "Pitchfork Media" observed that the multiple shots of Adele contributed towards a "ghostly effect". Maeve McDermott writing for "USA Today" described it as a "swooning, floral vision". "Elle" Alyssa Bailey wrote that the simple concept behind the video, along with the colors, effects, the singer's dancing and singing made it "beautiful". Eliza Thompson of "Cosmopolitan" noted that like the song itself, the clip was "absolutely gorgeous". Nash Jenkins of "Time" magazine felt that it was not "much more" than what was seen in the snippet but nevertheless, called it "refreshing for its maturity and minimalism". James Rettig from the website Stereogum was more negative towards the clip saying that it looks like a "boringly pretty screensaver" due to the many slow fading shots.
Lyrically, "When We Were Young" deals with themes of the "fears of getting older," a recurrent theme on "25", and "finds her reconnecting with [an] old acquaintance years after their adolescence, which prompts her to revisit those memories and to wish she could stop time." As noted by Maeve McDermott of "USA Today", during the reunion, "Adele wistfully begins mourning before it's even over." During the song, she "watches as her youth slips away in real time," singing: "Let me photograph you in this light, in case it is the last time that we might be exactly like we were, before we realized we were sad of getting old." In the last chorus, she cries about "the inevitability of separation", singing: "I'm so mad I'm getting old, it makes me reckless." Spencer Kornhaber of The Atlantic analyzed that the entire first verse of the song "is about her working up the courage to approach an old flame who 'everybody loves.'" He added that the song "is another version of the revisitation narrative of 'Someone Like You' but this time, there's no 'never mind, I'll find someone else' portion. There's only her begging for a photo, because she's worried the future won't ever be as good as the past was."
Alex Macpherson of "The Guardian" commented positively about her vocals, writing that "the zany 'Private Show' is a showcase for Spears to explore first helium-textured cartoon coquettishness, which seems a touch inspired by young Cyndi Lauper, and then an oddly snappy chirrup about working the pole. It's refreshing to hear Spears having fun on record – Private Show contains more goofy character than Spears's past three albums combined – as well as making a song in which her slinkiness is played for laughs rather than sexiness." Maeve McDermott of "USA Today" picked it as one of the essential tracks on the album, calling it "one of Glory's most explicitly sexy tracks that, to Spears’ credit, could’ve gone terribly wrong." 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."
Edwin Ortiz of "Complex" stated that it "has major potential to get burn in clubs across the country." Nicholas Parco of "New York Daily News" stated that the track "is primed to be an early contender for hit of the early summer". Brennan Carley of "Spin" praised "ZAYN's rich, warm vocals" that "weave themselves around a backing choir before a huge funky hook kicks in." Carley also stated: "What 'Sorry' did to jumpstart Justin Bieber's "Purpose", 'Like I Would' is the poppy kick in the ass 'Mind of Mine' needed pre-release." Leah Greenblatt of "Entertainment Weekly" noted that the song leans "headfirst into sleek, Weeknd-style hedonism," a sentiment that Maeve McDermott of "USA Today" also expressed, writing that it "give us another clue what R&B contemporary Malik is taking clues from on this record: the Weeknd." Nick Levine of "The Independent" also agreed with both critics about The Weeknd's reference. Michael Cragg of "The Guardian" thought it was weird that "the excellent, upbeat 'Like I Would' is relegated to the deluxe edition."
"WTF (Where They From)" received widespread praise from music critics. Maeve McDermott form "USA Today" named it "Song of the Week" and wrote that "after becoming a household name with a decade of classic records before stepping back for the next ten-year stretch, Missy sounds triumphant on "WTF", serving her classic sing-song braggadocio and figure-praising lyrics alongside a guest appearance from Pharrell." "The Guardian" writer Lanre Bakare summed: "What it is a welcome bit of weird, fun pop that exists in its own pristine bubble. Get Ur Freak On." In his review for the "Los Angeles Times", Gerrick D. Kennedy wrote that "the new jam is Missy at her best. The beat is as off-kilter and futuristically funky as could be expected from a track with her name on it, and the lyrics are a barrage of tongue-twisty, nonsensical punches". Spencer Kornhaber from "The Atlantic" found that "no one is as reliably able and willing to start a party as Missy [...] She’s not buying melodies from Swedish pop geniuses in attempts to conquer multiple radio formats; she’s not lugging around a Narrative. She’s pure rhythm + attitude, an equation for joy. So it is on “WTF,” with its earthquaking low end and catchiness-through-elongated-syllables. Pharrell, another rap-master of body music, shows up for a verse that fits nicely into the nonsensical tapestry." "Pitchfork Media" awarded the song with their "Best New Track" tag, praising Elliott's comeback, the track's production and lyrical criticism of cultural appropriation, and eventually naming the track the 30th best of 2015.