The album has been met with mixed reviews from most critics. Chuck Eddy of Rolling Stone gave the album a 2.5 out 5, saying "Seven years after he placed on American Idol, Chris Daughtry and his band are opening up their would-be grunge to more nuance: folk instruments and synths, smoother high notes tempering Daughtry's bellow, "boom-b'boom" vocal-bass hook lightening the gender war in "Battleships." The sound on Baptized somehow links U2 to Rascal Flatts, adding Springsteen stances in "Wild Heart." More unexpectedly, there's also a banjo shuffle where Daughtry chooses Van Halen over Van Hagar, catalogs some of his other heroes and wonders who wrote Hole's songs. "Long Live Rock & Roll," it's called – a defense, perhaps, against anybody claiming guys like him helped kill it."
Glenn Gamboa of Newsday gave the album a grading of B-, saying "Daughtry takes some cool chances on his fourth album." He then commented positively on "Waiting for Superman," calling it "a sleek change of pace, rolling together bits of The Fray and Bon Jovi into the patented Daughtry sound;" and gave "Long Live Rock & Roll" a positive review, saying "he cleverly reminisces about Billy Joel and grunge in a country-style rave-up." However, he commented negatively on "Battleships" "with the stunningly weird chorus of "We love like battleships ... And the cannon goes, 'Boom boo-boom boom boo-boom boom boom,'" which is, well, crazy, and you wonder if he's gone too far." He then concluded by saying "Daughtry broadens his sound with mixed results."
Ken Capobianco of the Boston Globe also gave the album a mixed review, saying "Daughtry strips his sound to more acoustic textures and even ventures into electro-pop. At times, the change is refreshing, yet too often he seems to think the world needs more songs evoking Train or Lifehouse. Only the powder keg rocker “Traitor” diverges from the new approach. Luckily, Daughtry has one of the more expressive voices in rock, so he still breathes some life into the overload of corny lyrics."
Jon Caramanica of the New York Times delivered a more negative review for the album, saying that he felt Daughtry felt limited with the stripped-down music. "But even though Daughtry’s music has softened, there’s not much Mr. Daughtry can do with his voice, which has an appealing, powerful growl with no sultriness to it. It wants badly to roar but is given almost no opportunity."