Nothing Has Changed, particularly the three-disc version, received critical acclaim. Critics gave unanimous praise to its reverse chronological sequencing. Writing for
AllMusic,
Stephen Thomas Erlewine stated, "it's a sly way to revisit and recontextualise a career that has been compiled many, many times before." Evan Sawdey of
PopMatters agreed, writing that the sequencing of the three-disc version creates "a fascinating aural experience", giving the listener a sense of Bowie's "out-there weirdness" early on, as well as a taste of the artist's influences. Similarly, Cody Ray Shafer of
Under the Radar praised the sequencing of the three-disc version, finding that this allows the listener to appreciate the artist in an entirely different way. Shafer further praised the new track "Sue", writing that it is "remarkably unlike anything he's ever done before." Many have considered the three-disc version one of Bowie's finest compilations, including Erlewine, who praised it as "[an album] that makes us hear an artist we know well in a whole new way." Andrzej Lukowski of
Drowned in Sound further called it, "a monument to an extraordinary 50-year-career" and "a statement of self-belief in Bowie's post-superstardom work that surely stands as the most pugnacious best of ever released by an artist of his stature." Similarly, Sawday called
Nothing Has Changed "a thrilling go-to for the semi-casual
Thin White Duke observer, and is about as damn close to perfect as a Bowie anthology can get." Hal Horowitz of
American Songwriter found the three-disc version to be the best way for a new or unfamiliar listener to start with the artist, as well as for established listeners to catch up on his most recent period with
The Next Day. A writer for
Classic Rock magazine found the collection to be "a great way of refreshing an often overly familiar catalogue."
Douglas Wolk of
Pitchfork felt out of all the released formats, the three-disc version was the "jewel". He criticised the two-disc version as a slight revision of 2002's
Best of Bowie, further stating "it...misses most of what's magical about this particular artist;" he considered the double LP version an improvement. Despite its acclaim, the collection was criticised for the exclusion of tracks Bowie recorded with the rock band
Tin Machine. Regarding the exclusion, Holowitz stated, "It's a logical omission but still a segment of his oeuvre that deserves at least a nod." Lukowski felt that the absence of Tin Machine was the collection's "only real fault", while Wolk agreed that the exclusion was a weak point. Wolk was further disappointed with the absence of tracks such as "
Suffragette City", "
DJ" and "
John, I'm Only Dancing". Some reviewers agreed that certain eras of Bowie's career, including the
Berlin Trilogy, were under-represented. Sawdey noted the absence of more Berlin tracks a disappointment, especially when compared to including rarities from the unreleased
Toy project. Erlewine also felt the
Ziggy Stardust years were under-represented. Both Wolk and Horowitz also criticised the inclusion of the collaboration "Dancing in the Street". Some reviewers found the collection's title ironic, as throughout Bowie's long career,
everything changed. ==Track listings==