[5][6] As part of the single's promotion, Lott performed the song on various television shows, including: Live Lounge, Freshly Squeezed, Sound, Totally Saturday, Loose Women and GMTV.

[7] The track was covered by Selena Gomez, Lorde, Girls' Generation-TTS and Dutch pop singer Esmée Denters.

[8] The Manchester-based electronic music duo Flip & Fill have also remixed the song, included as track number ten on the compilation album Clubland 15.

Ruth Harrison of FemaleFirst positively reviewed the song, stating that "this track is just what we need this summer" and that "[i]t's like a slice of grown up bubblegum pop".

[9] Daniel Wilcox of 411mania.com described the song as "a sassy and soulful number along the lines of Amy Winehouse's bigger singles, only more powerful and sexy, and that much more vocally impressive".

[11] In a positive review for the BBC Chart Blog, Fraser McAlpine commented that the song "is mined from the same gently retro school of blues that guided Duffy to all those Brit awards earlier in the year".

[12] Brit Music Scene's Dave Parrack stated that the song "shows off her style really well, allowing her to sing around a catchy bassline which accentuates rather than overbears her voice".

[13] The website of the UK branch of the mobile phone company Orange positively compared Lott to other female artists of the same genre, stating that the song is "a thoroughly enjoyable blast of handclapping, cymbal-crashing pop, and features some of the catchiest 'uh-oh-uh-oh'-ing since Beyoncé's 'Crazy in Love'.

Pixie's undeniably impressive vocals still come off rather more Gabriella Cilmi than Amy Winehouse, but it's a sterling start from a definite one-to-watch".

[15] Lott described her reaction upon learning the song reached number one: "I was in bed at my mum and dad's, where I still live, in Brentwood, Essex.

[18][19][20] The music video, directed by Trudy Bellinger, was released to Myspace in Lott's news section and has gained in excess of two million views on YouTube, where it was added on 28 April 2009.

She wakes up when two pairs of gloved hands clap along to the song before dragging her into a world filled with countless white silk material to create an imagery of a white-only room.

In order to achieve this fusion of styles, I worked with two choreographers: Paul Roberts for his slick sharpness, and Kate Pearson for her innovative physical theatre.

The fusion really worked, and after two days of intense rehearsals we had an amazingly tight piece, although we had problems with twenty dancers being covered in bruises!

Denzil Armour lit it, and Sam Brown did second unit, whilst Mark Adcock shot Bolex enabling me to get coverage of the six sets and choreography in one day.