Libertine has been reissued on CD and vinyl over the years; four songs from it appeared on the band's fourth compilation album Yours for the Taking (The Best Of) (2020).

[2] The following month, the band announced they had left their label Polydor Records, with both parties coming to a mutual agreement.

Ewan Davies (with assistance from Will Bartle), Kenny Patterson and Cenzo Townsend served as engineers throughout the sessions.

[9][10] Neil Hodge of Louder Than War said it was an "atmospheric album that is a perfect example of late night listening including strings, Hammond organ, slide guitars and ventures into reggae".

[13][14] "Let Me Rest" touches on soul-pop in the vein of the Style Council; Ink 19 writer Stein Haukland said it concludes in a "frenzy of uncontrolled [...] guitar riffing and a furious Hammond organ solo".

[22] It was promoted with a tour of the United Kingdom in October and November 2001; three of the shows were postponed when Rossiter started suffering from a throat infection.

was released as the album's second single on 28 January 2002, featuring "From Georgia to Osaka", "Welcome to Dover", "With Love in Mind" and an edit of "Does He Have a Name?".

[24] The 2002 European and US editions of Libertine were co-released through iMusic, a label started by former employee Matt Geiger; "Let Me Move On", "With Love in Mind", "From Georgia to Osaka", and "Who Said This Was the End?"

[29] Drummer Matt James was excited by this prospect as he thought Libertine had some of their best songs, and it would allow the album to reach a wider audience than on its initial release.

[35] AllMusic reviewer Jack Rabid said that while it did not stand up to their first two albums, it was an upgrade from Revelations, adding that it was the "sort of LP that is rarely made by anyone anymore: one that engages every ounce of empathy one possesses".

He liked that Jones "corrected the rare small botch he made of Revelations, restoring the dollops of shiny radiance and vigor" with Libertine.

[10] Journalist Annie Zaleski said in a review for The Boston Phoenix that it took a "more subdued approach" than their past releases, as the "once so overt choruses are now few and far between".

[37] Haukland felt that the album would "grow on you and reveal a subtle and beautifully crafted effort from one of the most consistently good bands out there".

He added that there was a "real case to be made that Libertine is Gene's best album, a couple of questionable excursions into dub and reggae aside".

[14] PopMatters contributor David Medsker thought the album was "considerably better than one would expect", though it lacked the "guitar punch of their earlier work".