"[1] He also spoke about the album's lead single "Easy Money", saying: "I like the idea of sneaking a serious concern into the mainstream, disguised as a big pop tune.

[5] Ryan Bray of Consequence of Sound said, "It may have taken an unusually long time for Marr to come around and embrace the fruits of a solo career, but if Playland and The Messenger before it are any indication, the guitar god seems pretty intent on making up for lost time.

There’s a definite through line between this and The Messenger, though Marr has obviously decided to differentiate his newer baby by toughening up the sound – Playland is slathered in aggressive synths and spiky riffs.

"[7] Stephen Thomas Erlewine of AllMusic stated, "Playland proves Marr wasn't wrong to rush into the studio to cut a second album quickly: it may glisten more than The Messenger, but it's a more visceral experience, gaining energy from its performance and also the sense that nothing here was fussed over.

All this means that Playland is superficially more pop with all its style and flair, but it plays more like a rock & roll album, always in a hurry to make its point understood as quickly as possible.

As Marr continues to staple pages to his résumé—and the prospect of a Smiths reunion becomes even more remote—the disconnect between the iconic architect of '80s indie and the journeyman who’d rather follow than lead grows.

But it's the strengths of Marr's sophomore LP that are also its downfall, as soaring string bends ("Candidate") and propulsive riffing (album opener "Back in the Box") end up nowhere in particular, with most of the album's 11 tracks hitting a mellow middle ground with nary a climactic crescendo in sight.

"[8] Graeme Marsh of musicOMH stated, "Coming so soon after the debut, comparison is inevitable; ultimately, there are more tracks to keep you returning to The Messenger and, whilst that record played like an A-side of Marr’s accumulated ideas, Playland often takes on a B-side presence, sounding rushed in places.