Me You,” instead going for a light R&B groove with a synthesized hand clap. (It’s anybody’s guess when we’ll see the return of the fiddler and steel guitarist who have been seemingly M.I.A. since circa 2009.) To the single’s credit, this particular sonic backdrop affords some much-needed breathing room for Shelton’s vocals, the quality of which have generally remained consistent even when the song quality hasn’t.
Unfortunately, it’s not quite enough to overcome the heavy air of complacency that hangs over the song itself. It’s evident in the irritating little cliché phrases that keep popping up throughout the song, as well as in tacky rhyme schemes like “Now you’re standing in the neon looking like a high I want to be on,” and in self-impressed pickup lines like “You can’t shoot me down ’cause you’ve already knocked me dead.” The plodding verses create a bar meeting scenario that lacks any first-person details more memorable than a “pretty pink lemonade shooter” as Shelton’s narrator romances a nameless, faceless female. The chorus has an enjoyable melody, but the title hook reeks of stale, forced cleverness.
The single offers neither any substantial listener reward nor a compelling reason to hit the replay button, serving little discernible purpose except to hold Blake Shelton’s slot on country radio while he sees to his judging gig on The Voice. For a reigning CMA Entertainer of the Year, it’s a terrible shame that the music itself is not far more satisfying, and hasn’t been for a long time now.
Written by Rodney Clawson, Chris Tompkins, and Jimmy Robbins