Rolling Stone's Christian Hoard praised the song alongside "Shameless" for having "stellar bar-rock hooks and big, memorable choruses" that may "inspire some spirited pubwide singalong.

[3] Alex Fletcher of Digital Spy was mixed on the track, criticising the incomprehensible lyrics but praised the "dozen pianos" and "fine[st] rattling riffs" throughout the production.

[4] Chris Baynes of PopMatters criticised the song's "generic riffing and clichéd couplets", saying it was "shockingly dull.

"[5] Tony Robert Whyte of Drowned in Sound called it "overwhelmingly inane" and "the worst kind of revivalist Britpop shite that no band should be allowed to unleash unto the masses.

"[6] Pitchfork contributor Adam Moerder felt the track dug "a new low for the group," highlighting the "easy-to-swallow blues riffs venturing into Hootie territory and beyond.