Described by Burke as a record full of "risks", she worked with a diverse group of artists and producers, including Cutfather, Erick Morillo, Autumn Rowe, and Ben Adams, among others.

Heartbreak on Hold was delayed several times before its release due to the reasons for her departure from Syco and constant rescheduling after signing with RCA, eventually limiting promotional activities to the UK and Europe.

Publications were divided on the record's material, production quality, and overall execution, with the majority of criticism directed the albums lack of charisma and originality throughout.

"[5] Burke temporarily paused work on the record to embark on her All Night Long Tour, which ran from January to August 2011 in the United Kingdom.

"[1] According to AllMusic writer Matt Collar, "Heartbreak on Hold, finds the singer shifting away from the pop/R&B of her debut to a more dance-andclub-oriented sound.

[14][19] Critics likened "Fire" and "This Love Will Survive" to works by American artists Lady Gaga and Robin S.[14] "Between the Sheets" is the album's first midtempo track, with a slower beat that contrasts with the rest of the record's dance-heavy sound.

[19] Michael Woods produced "Daylight Robbery," an EDM song about a guy who "steals your heart and you didn't expect it.

[21] "Love You That Much" was written as a tribute to Burke's fan base and is a musical uptempo dance number similar to Australian singer Kylie Minogue's work.

[22] "Sitting on Top of the World" is a song with lyrics about her childhood lifestyle, memories, and having fun while learning life lessons from her parents.

British media speculated that its shelved date was chosen to avoid conflicts with albums released by other X Factor alumni that year, including Matt Cardle, Cher Lloyd, One Direction, and Leona Lewis.

[35][36] In early April 2012, a music video was released showing the singer and backup dancers having fun while performing in an underground facility.

Burke first performed "Let It Go" on The Voice of Ireland season finale on 29 April 2012, and on Lorraine, a breakfast television show in the United Kingdom, on 22 May 2012, where she also gave an interview about the song and Heartbreak on Hold.

[41][42] Burke then performed an acoustic version of the title track "Heartbreak on Hold" on the daytime talk show Loose Women.

[47][48] One day later, Burke appeared on KEY 103 Live in Manchester alongside One Direction, Rizzle Kicks, Little Mix and Will Young, as well as at Party in the Park in Leeds.

AllMusic's Matt Collar was fairly positive, writing, "Burke delivers a handful of high-energy electro-house-inflected material that showcases her yearning, passionate vocal style.

"[14] Robert Corspey of Digital Spy also praised the record's sound and simplicity, saying, "The message [on Heartbreak on Hold] is simple: to forget life's troubles and have a good time.

Jenny Mensah from 4Music praised the slower songs and specific melodies, writing, "Alexandra Burke's second album has some catchy tunes, smooth sounds and great production.

"[53] Simon Gage from Daily Express agreed, writing: "It seems to be very little charisma on this new album of driving pop/dance that she insists has an emotional underpinning.

"[54] Caroline Sullivan from The Guardian said "The album falls back on the Auto-Tuned pyrotechnics and clinical club-pop that has currently turned the singles chart into a featureless wasteland, Burke follows a well-travelled road, losing her likable personality en route.

"[15] Other critics dismissed the effort as a whole; Andy Gill from The Independent felt that "the plethora of producers [on Heartbreak on Hold] renders the music blandly generic, another round of Guetta-style synth-stomps and incessant keyboard vamps, largely interchangeable with those on Rihanna's and Madonna's last albums.

"[20] The Observer's writer Hermione Hoby was particularly negative, writing "Heartbreak on Hold is a strong argument for a moratorium on songs featuring effects-laden instances of the word "tonight".

It seems to feature in almost every track on Alexandra Burke's second album of relentlessly unimaginative house, each excessively Auto-Tuned Euro-club banger indistinguishable from the next.