[4] Her work has been compared to that of Animal Collective,[1] Big Thief,[3] the Blue Nile,[5] David Bowie,[6] Tim Buckley,[7] Aldous Harding,[3][8] Julia Holter,[8] Cate Le Bon,[1][3][8] Laura Marling,[9] Joni Mitchell,[7] Nico,[9] Jessica Pratt,[3] the Sea and Cake,[9] Steely Dan,[5] Stereolab,[10] Vanishing Twin,[8] Caetano Veloso,[7] and Weyes Blood.

[13] Pitchfork's Quinn Moreland praised the malleability of the album and of Birgy's vocals in particular, which she described as "fluctuat[ing] from an operatic soprano to a wispy sage to a windswept Gold Dust Woman.

"[6] Ben Salmon of Paste argued that "Happy Together radiated a new confidence, pairing Birgy’s unconventional song structures with gauzy production and strange jazz jaunts.

"[1] Writing for Tiny Mix Tapes, Leah B. Levinson described the album as "a balancing act between the theatrical and the cool: careening, turning the confessional on its side, and muddling the surrounding water with affects of the surreal."

"[14] Gorilla vs. Bear placed Happy Together tenth on its list of the best albums of 2017, describing it as "a dreamy, jazzy opus ... that addresses some dark and relevant themes in an elegant and surreal way....

"[3] Diva Harris of The Quietus described Dolphine as a collection "of shimmering dirges which could just as easily soundtrack ancient woodland or the night sky as the deepest imaginable depths of the sea" and noted that the album's "whimsy" is accompanied by "grit and tough shit": "For all of Dolphine's cuteness – every crying spider, wind chime, and faerie – there’s an equal and opposite: a trollish man touching a woman without consent, a steaming dirty nappy, another murder.

"[8] Writing in Paste, Ben Salmon compared Dolphine positively to Birgy's two previous studio albums, arguing that the sound quality, performance and songs all constitute an improvement, and praised the title track and "Fwee Again", which he described as "unbridled exploration that goes through about three iterations—spacey intro, jittery indie rock, spooky piano tune".

[10] Randall Roberts of the Los Angeles Times wrote that on the album "Birgy harnesses her voice, a breathy, elastic instrument that she flexes in myriad ways, in service of songs in which no two measures are alike" and "phrases her lines with the ear of an actor, conveying emotional info and drama with each oblong couplet.

[16] Philip Sherburne of Pitchfork described the album as "a firehose of cryptic metaphors, veiled allusions, and seemingly disconnected thoughts sprayed against a bright, skeletal frame of jagged jazz-prog.