Longtime collaborator Steve Mac returned to work on the album, as well as enlisting a range of new producers and writers including Rodney Jerkins, Autumn Rowe, Diane Warren, Carl Ryden, DNA Songs, David Schuler, Priscilla Renea, Camille Purcell, Jim Jonsin and many more.

[4] In order to promote themselves around the United States, they performed at opening ceremonies such as MTV Video Music Awards.

[5] The Saturdays said they have a lot of respect for the label[s] and said it was an "honor" to be a part of their music group as they have enjoyed massive success with their artists, such as: Mariah Carey, Kanye West, Rihanna, 2 Chainz, Neon Trees and more.

[6] The EP would be released once they debuted their reality television show, entitled the same name, which it would act as a promotion for the band in America.

's popular Sunday night reality block, which continues to deliver can't miss original programming to viewers year-round.

[citation needed] It was revealed by Perez Hilton that the band had been working with Demi Lovato in the recording studio.

[11] When the band were introducing themselves to the American public, Rochelle Humes said she was the "mum of the group",[12] they call Mollie King the "Disney characters" although she said "I'm not.

[18] The album artwork features all five members of the band, before Rochelle Humes and Frankie Sandford's pregnancies.

[20] "30 Days" was said to "fill the dance floor with its echoing beats"[21] Robert Copsey of Digital Spy rated the single 4 out of 5 stars, writing a positive review about its "blend of plinky synths", "rumbling electro beats" and "addictive chorus" which is "cooler than a blast of Listerine.

"blend of plinky synths" and "rumbling electro beats"[22] Some critics, however, questioned "30 Days" being on Living for the Weekend as they said the song would have been a good fit for the band's previous album, On Your Radar.

I'm really excited about it because we've got to work with some cool people[18] It was revealed by Professor Green that the band were recording with DJ Fresh.

[23] Healy said that the whole opportunity of signing US label[s] was a great step for the band to get out and build a fan base in the United States.

[11] The song was the first track to be released in North America, and the band said they did not want to change their type of music for the American public.

"[20] Rochelle Humes explained the concept of the single, "It’s a really amazing, catchy song but the sentiment behind it is being all excited and counting down the days to seeing someone when you’ve really been missing that person.

[31] King said "What About Us" features reggae pop music influence, a little different from what band usually record, but the track is still really "dancey" and "upbeat", as well a good song to dance to on either stage or at a club.

[33] She also said "It's very dancey", and that they hoped to experiment with other types of music genres on the album, she said: "It's going to be a lot more edgy than our previous stuff and what we are known for.

"[23] Upon release the band began to promote the album by featuring in their own television series, Chasing the Saturdays, which the first episode brought in 914,000 viewers in the United States.

[48] The single was heavily praised by critics, who enjoyed the "trace beats" and felt it was "radio friendly" and "strangely addictive".

[63] Digital Spy described the single as "light 'n' fluffy electropop so sugary it'll rot your teeth in an instant, while the chorus has the kind of ear-snagging hooks that quickly dig deep.

[68] Living for the Weekend garnered mixed reviews, with critics noticing the lack of personality[1][72][77] and direction.

[71] Robert Copsey of Digital Spy called the album "a compilation of perfectly serviceable pop" but felt that "as a group, the Saturdays sound lost.

"[71] Elliot Robinson of So So Gay wrote that the record "occasionally perpetuate[s] the more faceless dance pop its predecessor unfortunately introduced to the girls' sound" and that it "does feel rather calculated at times with some generic filler tracks."

"[73] Christopher Toh of Today wrote that "it’s not the best album of the year by any means, but it is great as background music for your weekend party, so in that sense, it works.

noticed that "like its predecessor, [...] the latter part of the record is virtually indistinguishable thanks to an over-reliance on the hands-in-the-air dance-pop that has dominated the charts since the rise of David Guetta et al" and stated that "if the Sats could have sustained the momentum of its opening half, then Living For The Weekend could have been a late contender for pop album of the year.

"[1] The reviewer of the Shields Gazette noticed the same problem, but found the second half "inconsequential as opposed to horrid," saying that "it lacks personality in places, but it’s a better effort than many would expect from a group commonly [...] likened to a third-rate Girls Aloud.

"[72] Matthew Horton of Virgin Media noted that the album contains the band's "best run of singles [...] ever," but otherwise felt that it "drags" and that it is "at least two tracks too long.

"[75] Angus Quinn of York Vision felt the same way, stating that the record "really struggles once you're past the singles" and that "the album tracks could fit into almost anyone else's repertoire.

"[77] Patrick Gough of the Bournemouth Daily Echo found that "the quality is strong and consistent for the first seven tracks, but after last year's single 30 Days, the songs become more generic" and felt that "the Saturdays have bags of charm and style but their identity gets a little lost towards the end of this album.

"[70] Darryl Sterdan of the Canadian Winnipeg Sun gave a negative review, describing the album as "instantly forgettable pop, R&B and dance piffle about boys" and saying that the band "[had] best be living for the weekend, since that’s about as long as this will be on anybody’s playlist.

"[76] A more favorable review came from AllMusic's Matt Collar, who noticed that Living for the Weekend "attempts to build upon the group's heightened profile with a bevy of infectious pop, soul, and electronic dance-club cuts that showcase the girls’ resonant vocal chops" and described it as "an album of delicious pop" that "goes a long way toward helping the Saturdays achieve their dreams of worldwide diva domination.