Can't Hold Us Down - Critical Reception

Critical Reception

The song received mixed to favorable reviews from most music critics. Janceen Dunn from Rolling Stone wrote that "the feminist anthem is curiously lifeless." Jacqueline Hodges from BBC Music agreed, writing that the song "brings in the assistance of Lil Kim to add a bit of edge but does little to deviate from the monotony of other tracks." Todd Burns from Stylus Magazine wrote that "the more interesting things going on in the song, is the final minute of the track, with dancehall. This sonically pleasurable changes are relegated to outro status and only serve as a footnote as to what might have been."

Betty Clarke from The Guardian wrote that the song "rewrites feminism to a hip-hop beat", while Josh Kun from Spin, called it "a sisters-doin'-it-for-themselves duet with Lil' Kim." CD Universe described it as a highlight on the album, calling it a "snappy, Lil' Kim hip-hop workout." A review from Epinions wrote that "it is an urban-styled pop song with an easy-to-digest production and guest verse from Lil Kim. It directly throws all the negative criticism back in the public's face with intelligent, thought-provoking lyrics. The song stands head and shoulders above the rest of them." "Traveling To the Heart" complimented the track, writing: "Can’t Hold Us Down is R&B, which Aguilera fits into like a pair of hot pants. The lyrics are assertive and direct and Lil’ Kim, though, proves to be useful during her part. Her lyrics are explicit and straightforward, which fit the tone of the song.

The song was nominated for a Grammy on the category Best Pop Collaboration with Vocals on its 46th edition. Nick Levine from Digital Spy and Nick Butler from Sputnikmusic complained that the song is not featured on her compilation "Keeps Gettin' Better: A Decade of Hits".

Read more about this topic:  Can't Hold Us Down

Famous quotes containing the words critical and/or reception:

    An art whose medium is language will always show a high degree of critical creativeness, for speech is itself a critique of life: it names, it characterizes, it passes judgment, in that it creates.
    Thomas Mann (1875–1955)

    He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!
    Billy Wilder (b. 1906)