Rob Brunner from "Entertainment Weekly" gave the album the grade of B, stating: "Judging from "The Writing's on the Wall", the second album from Destiny’s Child, it's not Briggs' fault. With his help, the Houston quartet (Beyonce, LaTavia, LeToya, and the unimaginatively monikered Kelly) prove themselves to be more capable of confident, inventive R&B than many of their contemporaries. Though Briggs is joined by a slew of trendy producers (including Elliott and Rodney Jerkins), "Wall" still manages to avoid sounding like a mere rehash of other people's hits. With a snaky lead vocal that slithers around staccato harmony parts, the aptly titled album opener "So Good" coolly mixes restrained production and playful melody. "Bills, Bills, Bills", the first single, is a sort of companion piece to "No Scrubs", taking on guys who seem perfect but turn into jerks once they get comfortable in a relationship. And "If You Leave", a duet with male vocal trio Next, is an ambitious collaboration that delivers despite its potentially lethal abundance of voices. Wall gets bogged down by too much banal balladry ("Stay", "Sweet Sixteen"), proving Destiny's Child to be capable of sounding exactly like any other group of snooze-inducing slow-jammers. But more often they recognize the difference between extremes of pitch and extremes of passion, a distinction lost on many R&B balladeers (Blaque frequently fall for this trap, and they’d probably spend even more time screaming and yelling if they were a little better at it). Destiny's Child have learned a thing or two from the Supremes, singers who knew how to use a well-placed pause or a quietly sung harmony to maximum effect. No, they haven't managed to reach that lofty level on Wall, but if you're casting "Motown '99", the album's worth a listen. Its best stuff is close enough to the spirit of the Supremes to at least win them a callback."