Andy Kellman chose the song as the best one on the album, writing that it is a "playfully risqué boogie loaded with instantly memorable lines". Emily Mackay of NME wrote: "[The] Most gleefully brazen of all [on the album]... is the soft-focus disco-tinged romp 'Blow'". Mesfin Fekadu of the Associated Press wrote that "the old school-flavored" song was one of the best on the whole album. Melissa Locker of Time described it as "one of the better tracks on the album". While reviewing the album Jody Rosen of Vulture hailed the song as "beatific" and added that it had potential to become a future hit. In another review he wrote that it "find[s] a sweet spot between nostalgia trip and future shock". Chris Talbott and Mesfin Fekadu of the Associated Press described "Blow" as "addictive". Digital Spy's Robert Copsey wrote in his review that the "hipster funk" song was the closest one to being a single from the album and one of "the most obvious chart contenders". Under the Radar editor Ryan E.C. Hamm felt that the song "could skyrocket up the charts". USA Todays Amanda Dobbins felt that the song should have been released during the summer of 2014 as "It has that feel-good '70s sound that's very popular right now". Andrew Hampp and Erika Ramirez of Billboard magazine praised Beyoncé's "sexy" vocals on the track which they hailed as a "slinky club banger". The Washington Post writer Chris Richards described "Blow" as a "strutting, moaning disco vamp". Sal Cinquemani, writing for Slant Magazine described it as a "post-disco slink". The Quietus writer Mof Gimmers wrote, "The cocaine soul bears down again, with the excellent 'Blow' which grooves along like Kelis on a Friday night, before gnashing its teeth into the gonzo pop of Cameo or Parliament." The Guardians Michael Cragg described it as a "delicious throwback funk" song. Mikael Wood of Los Angeles Times felt that the "sumptuous" song allowed Beyoncé "to flex her impressive stylistic chops". Spins Anupa Mistry praised the collaboration of Timbaland and Pharrell on the "nimble and funky" track "Blow" as "mighty" and "genius". Similarly, Claire Lobenfeld from Complex who felt that Justin Timberlake and Timbaland "lost their ability to make their distinctive, infectious love-pop" on Timberlake's album The 20/20 Experience, noted that "Blow" proved the opposite: "The two have reinvigorated the overused private-parts-as-candy trope by writing one of Bey's friskiest songs ever. Add