A song about a narrator whose woman completes him is a worthwhile concept, so long as one avoids pouring on the syrup. But in this case, the execution falls very flat.
“If you wanna see my sweet side, my soft side, my best side, I just point at you,” Moore sings in the chorus. The hook doesn’t have much heft, and is not particularly clever or interesting, but the bigger eye roll is that the song spends most of the time indulging in the tired backwoods rebel shtick on which too much of Moore’s career has already been wasted.
He’s got “a rough side, a wild side at least a country mile wide,” but so, it seems, does virtually every other twenty or thirty-something male artist on country radio. The one-dimensional lyrics make Moore seem like a caricature, and when you add a brash, over-the-top country-rock production, the single seems to exemplify all of Moore’s most irritating tendencies as a recording artist.
It’s not as obnoxious as, say, “Bait a Hook,” but it’s also devoid of the earnestness of “‘Til My Last Day.” “Point at You” is just overly loud and entirely uninteresting.
Written by Rhett Akins, Ross Copperman, and Ben Hayslip