Reviewer Calum Bradbury-Sparvell described the cover, noting, "Clementine stands in a shadowy profile with a Granny Smith cupped in his right hand, as if the Magritte's Son Of Man had finally plucked the offending fruit from his face, but promptly swiveled away from the limelight.

An appropriate symbol for this debut LP, during which the mythos of the Edmonton-raised Métro busker, who went from sleeping rough to impressing Macca in a barefoot Later With Jools Holland performance, dissipates only to reveal something more inscrutable: a stranger in a trench coat.

"[9] Nake Chinen from The New York Times wrote that "As for Clementine's actual voice, it's a strange and frequently stunning instrument, a blade like tenor that can swoop into either a clarion cry or a guttural scowl.

The compelling British singer/songwriter is dramatic, self-assured, and theatrical in the extreme, boasting a powerful voice that swells to fill the room, which, on this unique record, seems to expand and shrink at the drop of a hat.

... At Least for Now is a pop record of sorts, but completely on his own terms, and like Antony Hegarty (an acknowledged influence) and Rufus Wainwright, two artists who have similar aspirations of pseudo-classical grandeur, Clementine will no doubt be polarizing for many listeners.