Upon its release, "By the Grace of God" received generally positive reviews. Jason Lipshutz from
Billboard thought the song was "obviously not the radio fare fans are used to from the pop star (Perry)", but that it was "crucial for anyone trying to understand Perry's
Prism mind set".
Greg Kot from the
Chicago Tribune appreciated "Ghost" and "By the Grace of God" for allowing Perry's vulnerability "to seep through". In his review of
Prism, Sam Lansky from
Idolator showed himself divided relatively to the song: he classified it as the "most sonically conventional thing [in the album]" although he immediately stated it was "also the most emotionally gripping" in it. Randall Roberts from the
Los Angeles Times affirmed that the song was "cosmic" and that it had a "humming, dark tension in which Perry and melody float like red balloons". Helen Brown from
The Daily Telegraph declared that, in the song, Perry "sounds like a woman, and an artist, who's finally found herself". Allison Stewart from
The Washington Post said that "By the Grace of God" ranked "among Perry's strongest (tracks)", and that it was "her most strangely sensible and affecting song ever, one that distances her from her suddenly-more-callow-seeming peers and also from Brand". John Walker from
MTV highlighted the fact that the song is "light on figures of speech and all-too accessible platitudes", as compared to the metaphors present on the lyrics of "
Wide Awake". Jon Dolan from
Rolling Stone criticized its lyrics and negatively likened them to those of
Alanis Morissette. Kitty Empire from
The Guardian found the song to be "ridden with cliché". Mesfin Fekadu from
ABC News thought both tracks were "good", but stated that they "could be great if Perry didn't hold back and explored more lyrically and sonically". Chris Bosman from
Consequence of Sound criticized its placement on the album track listing and thought that they "would stand out more if they ('By The Grace of God', and closing track 'Double Rainbow') hadn't been forced to rub elbows, thus stealing momentum and impact from each other". Carl Williott from Idolator praised the track as a "nice counterpart to "Roar." ==Commercial performance==