[I]nfluenced by Donovan, Jimi Hendrix, Oasis, Bob Dylan and The Beatles… that’s sure to be a hit around these parts.

[Video][Website]
[3.86]

Anthony Easton: The NME’s write up of Bugg is one of the more obnoxiously rockist example of NME writing for a while. Liking this would be like agreeing with sentiments about music that was better 50 years ago, but not liking this would be capitulating to this idea of the cult of the new, and suspicion about guitars — so here it goes: I like this. I enjoy his voice, the lyrics are tight enough, the video avoids some but not all of the more obnoxious nostalgia, and it’s pretty much an anglo Phillip Phillips, who isn’t terrible in his own right. Bugg, then, is right down the middle of acceptable. 
[6]

Iain Mew: Bugg’s youth, meteoric rise and retro rock leanings remind of Arctic Monkeys, and “Two Fingers” in particular reminds of their early calling card “A Certain Romance,” similarly taking a look at the place that he’s from and including a tribute to friends there. The comparison is not a flattering one. “A Certain Romance” was written from the perspective of someone still living in the same place and balanced sharp observations with affection and a sense of the conflicted loyalties that come from belonging somewhere you’d rather not. Jake Bugg writes having left Clifton, speaks of his friends in only positive terms and, aside from one line hinting at domestic conflict, skirts over the details of where he’s left to concentrate on the moving away. It’s much less interesting because there’s no sense of what he’s escaping from or why we should care. This combines with his other problem: while Arctic Monkeys at least adopted old styles which they could revitalize, Bugg’s troubadour act sounds like a dusty museum piece. That is what makes the much-mocked line “skin up a fat one and hide from the Feds” so grating – it may or may not be how Bugg’s Nottingham peers really speak, but it sounds like a ludicrous anachronism when it’s the song’s sole nod to modernity.
[2]

Jonathan Bogart: He’s perfected his ’67 drawl, but he’s neglected to check the calendar.
[4]

Edward Okulicz: Sounds like Bugg’s vocal was put to tape in the 60s, left in a vault, and then had the backing recorded with whatever subset of modern recording equipment is considered acceptable to authenticity dullards.
[3]

Brad Shoup: It gets better. The song, that is. Bugg’s got a lot of couplets, and he doesn’t got time for instrumental breaks, but I expect the sense of wan relief will linger more than the sturdy Beatles ’65 production underpinning it. 
[5]

Alfred Soto: Two fingers, one for each ear.
[2]

Will Adams: The verisimilitude of an eighteen-year-old who thinks he’s got it all figured out is nice, though that still means listening to an eighteen-year-old who thinks he’s got it all figured out.
[5]