[7] Andy Gill of The Independent writes of its themes and characters, "the brooding protagonists of songs such as 'Ray's Automatic Weapon' and 'Used to Be a Cop' are captured on the cusp of catastrophe, at the end of their tether, while the adulterous itch prompted by a dancer's boots in the title-track bristles with portents of recrimination".

[9] AllMusic editor Mark Deming complimented its noirish themes, stating "The craft of Patterson Hood and Mike Cooley's songwriting is as strong as ever, drawing believable characters and giving them lives that make dramatic sense".

[10] Rolling Stone writer Jody Rosen described the album as "a raggedy revision of classic southern soul" and stated "It's a slight shift from DBT's usual muscular alt-country, but the rest is familiar: great storytelling [...] hinged to choruses that lodge in your cranium".

[17] Peter Watts of Uncut praised the band's "writing absorbing tales of smalltown characters and setting them to raucous, life-affirming music", calling it "a more restrained affair, a country-soul stew populated by brooding ex-cops, frustrated movie stars, wife-murdering preachers and sweet old ladies".

[18] However, Slant Magazine's Jonathan Keefe criticized the band's songwriting and found Hood's observations "literal and tin-eared", writing that "Go-Go Boots aims for a soulful, introspective vibe, but it ends up as the dullest album in the Truckers's catalogue".

[14] Deusner called it "a more dynamic record" than The Big To-Do, noting "a greater textural range, from the noir ramble of 'Ray's Automatic Weapon' to the spidery tension of 'Used to Be a Cop', one of Hood's best character sketches".