[7] Dhruva Balram of NME wrote that the album "has its flaws" and that it "doesn’t add many new colours to his palette" but complimented it for being "wrenchingly intimate and sweetly playful" and "quietly purposeful pop" and that it is "a step in a new and fresh direction for the enigmatic artist".

"[8] Craig Jenkins of Vulture wrote that Malik's "solo career still makes no sense, yet the intrigue remains earned" while calling him "a stronger man for his efforts, however seemingly minimal," ending his review by opining that his "way to write songs that leans into the strength of his voice and speaks coolly and quietly to the ups and downs of a high-profile romance will suffice.

[13] Kate Solomon of The Daily Telegraph felt the album lacked personality while writing that "he has nothing mature to say" and "fails to make the most of his talents".

[10] Writing for The Evening Standard, David Smyth felt that the record included "largely hazy, stoned R&B, offering blurred textures and smoky atmospheres but few standout moments" and that he "may not be sustainable unless the music speaks a little louder"; he did, however, compliment Malik's voice, writing that it was "undoubtable that his vocal ability was wasted on One Direction’s primary-coloured pop.

[16] Writing for Renowned for Sound, Angus Whitfield felt that the album "might have had more weight, importance and potential relatability" if it had focused more on "his struggle with fame and mental health" as opposed to "love making and smoking weed."

He complimented tracks like "Outside" and "When Love's Around" (calling Syd's feature "welcome and warming") but criticized "Vibez" as "boring and repetitive" and disliked Devlin's "aggressive rapping" in "Windowsill".