Club stated: "The record revolves around pulsating disco grooves, corrugated pogo-punk riffs, and a glittering pop sheen, all arranged so there’s plenty of room for Ditto to stretch her voice and approach.

"[5] The Guardian wrote that the record "runs the gamut of classic 1970s and 80s pop – Fleetwood Mac, Blondie, Suicide, Paul Simon – alongside the odd angular stomper that nods to the Soulwax remixes of her former band.

"[2] Calling the album as a "surprisingly sweet listen", DIY magazine critic Lisa Wright thought that Fake Sugar "paints Ditto as a more diverse, often even restrained artist than the larynx-shredding punk aggressor of the mid-00s.

[11] musicOMH's John Murphy was mixed in his assessment of the record, stating: "It’s that smoothing of Ditto’s edges that prevents Fake Sugar from moving from a good, perfectly serviceable pop album to something truly great.

"[12] Paste critic Ilana Kaplan noted that the album "bridges the gap between love and loss and taps into her Southern roots to create a record that fully encompasses the person she's become.