Fifth Harmony’s production team offer Daniel Bedingfield the sincerest form of flattery here with a main riff which is (in the words of Humphrey Lyttelton) within a gnat’s crotchet of his 2001 hit ‘Gotta Get Thru This’. Unfortunately, Bedingfield’s lead vocal knocks spots off the unimaginative sultriness of these girls, so I’m not sure the similarity plays out that well for Fifth Harmony in the grand scheme of things. Mind you, most of their fans were probably still nibbling rusks 15 years ago…

If you can manage to put that out of your mind, though, there are a few nice little sound-design details to appreciate. Firstly, there’s the low-level bed of super-long reverb (or maybe it’s just a synth pad that sounds a lot like reverb), which, together with smatterings of vinyl crackle and noise-based transition effects, provides a good deal of atmosphere and ‘glue’ to an arrangement which is otherwise extremely sparse. This is a tactic that’s particularly good for electronic music, where sounds are very upfront and real acoustic cohesion (in other words recorded room ambience or spill between mics) is frequently thin on the ground. And, secondly, there are those intriguing little ‘dog in pain’ yelps that appear at 1:16-1:31. Mad as a brush, perhaps, but certainly a smartly calculated head-turner! Or maybe they’re subliminal marketing aimed at pets? With Syco’s name in the credits, nothing would surprise me…