[15] AllMusic's Neil Z. Yeung viewed the album as "an improvement upon her trio of EP releases that succeeds in presenting mature, forward-thinking pop of the dark, introspective variety" and concluded, "While it could benefit from some tightening – the middle stretch stalls the momentum – Expectations affirms Rexha's songwriting prowess, ear for catchy hooks, and ability to pull emotion from otherwise serviceable radio pop".

[1] Craig Jenkins from Vulture referred to the album as "a showcase for the versatility of her instrument, which is both high and hearty and also a little wan, capable of hitting incredible marks in its upper register at the cost of coming in a little shrill".

[18] Idolator's Mike Nied stated that the album "perfectly captures the superstar's ethos" and that Rexha's "very recognizable voice is absolutely riveting."

In addition, Smith expressed that the singer "did a masterful job of painting a nihilistic scene in which she's an observer, and sometimes an unreliable narrator", but emphasized a lack of "autobiographical impression".

[22] Rolling Stone's Sarah Grant wrote that on Expectations, Rexha "paints herself as a heroine trapped in an ivory tower of her own making, but her cat-scratching upper register suggests sensitivity more than vengeance", calling it "an impressive debut album full of nostalgic heartache".

[19] Tommy Monroe from The Quietus stated that "a few tracks do do lack energy", however he described Rexha as "no ordinary singer" and "a chameleon who can switch vocals, blend with any sound, and find rhythm with any tempo".

[20] In a less positive review, Laura Snapes of The Guardian criticized the overuse of Auto-Tune and Rexha's "desperate search of an identity" throughout the album, citing "Ferrari" as the "only remotely distinctive song".

[16] Expectations debuted at number 13 on the US Billboard 200 chart, earning 24,000 album-equivalent units (including 10,000 copies as pure album sales) in its first week.