Upon its release,
Songs from the Tainted Cherry Tree received mixed reviews from music critics. Mayer Nissim of
Digital Spy stated that Vickers and her collaborators "have crafted an album that's drenched in accessible pop melodies while never sacrificing the charm and personality". Kevin Courtney of
The Irish Times commented that "[t]he blend of pop and indie works in her favour—and having a few catchy songs helps." Johnny Dee of
Virgin Media deemed it commercial but without sacrificing Vickers's "slightly eccentric charms" and noticed that it "works best [...] when it's mixing beats with folky whisperings", concluding that "[t]he girl's done great."
musicOMH Ben Urdang stated that "Vickers manages to achieve a consistency throughout so that the album sits comfortably as a fluid piece of work". He went on to add that although the album is not "groundbreaking nor perfect", it is "a solid start to her recording career". Mike Diver from
BBC Music praised Vickers's voice for the ability to "stand out from any crowd" but was not astounded by the lyrics and the album as a whole, stating that the impression it leaves is "compromised by songwriting by committee" and noticed that it would have been "considerably improved" with "[a] little more compositional guile". Elizabeth Sankey of
NME faulted the album for its "telling lack of objectivity", adding that "if [Vickers had] concentrated on one genre, this might have been victorious."
The Independents Simon Price opined that the album "consists mostly of forgettable
dance pop and
folktronica" and that it "doesn't stand out", while Dan Gennoe of
Yahoo! Music noted that it is "too busy trying to keep everyone happy to be anything other than indistinct and polite". David Smyth from the
London Evening Standard felt that Vickers's voice is "almost indistinguishable" from
Ellie Goulding's and concluded by saying that "her songs are blander but the public seems open to a singer who will do more interesting work than this [the debut]". Hugh Montgomery of
The Observer felt that "despite employing indie-minded collaborators such as Ellie Goulding and
Lightspeed Champion", the album was "given over to commercial box-ticking, matching generic
electro-pop with the kind of tasteful balladry that suggests a
Dido in-waiting." ==Commercial performance==