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In page The Blessed Unrest:

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However, Stacey Anderson at Rolling Stone highlighted that the release "hints at more adventurous paths left unexplored in its abstract piano and slightly distorted harmonies [...] odd, intriguing tools she could use for a second-act career twist, if she indulges them."[6] Because of this, Anderson noted that Bareilles was "just too diplomatic."[6] At The New York Times, Jon Caramanica was mixed on the album, when he alluded to how "Ms. Bareilles is hiding behind styles that aren’t her own."[8] Brett Faulkner of PopMatters wrote that the release is a "well conceived effort, but not sans flaws."[5]