Four years since the release of his acclaimed studio album, Justice, Canadian singer-songwriter Justin Bieber treated his fans to his seventh full-length studio LP, SWAG. With his out-the-blue drop, surprise-released on the 11th of July 2025, Bieber opted for path never travelled since he started in 2009, with his latest album being the first one in his award-gilt catalogue to not be preceded by a chart-making hit, let alone a single to herald the advent of the opus.
Marked by the strategic change to a standard Bieber album rollout, SWAG is the fruit of a musician who, despite not having mastered his craft, exhibits tell-tale signs of being comfortable enough in his own skin to explore different dimensions of his penmanship while plunging headlong into deep waters of newer sounds with enough faith that he won’t drown from the pressure.
With the sound assembled by an all-star roster of producers including Eddie Benjamin, Daniel Caesar, Carter Lang, and Bieber himself, among others, SWAG is a hybrid work of contemporary R&B and pop, though not interpreted in the mainstream sense. With influences of old-school gospel and blues, trap-inspired hip-hop, and good ol’ rustic folk music, raw acoustic guitars and soulful riffs dominate the 31-year-old’s latest foray, with this signature minimalistic sound punctuated by asymptotes of breathing spaces. At times, these fleeting moments are coloured with thin finger snaps or hearty harmonies or meaningful gaps of silence that contribute to the sonic aesthetics of the song. Whatever the case may be, the album’s texture conjures up moods normally found during golden-hour drives along the countryside, rather than late-night rides around the city.
Listen to “Daisies”:
At the core of it, the atmosphere of SWAG encourages introspection and feeling with one’s heart compared to previous works by the global pop star which leaned more towards dancing and igniting feel-good vibes. Besides head-boppers such as the 2 Chainz-backed “Yukon” and the Sexxy Red-assisted “Sweet Spot” (a facile highlight of the album ruined only by Red’s atrocious writing and off-kilter performance), most of the album banks towards artistic output rather than hit-searching; as a result, the collection has a feel of sincerity that isn’t normally prevalent or even adequately actualised in his works from the past. This heartfelt quality is the cornerstone of SWAG, the kernel that forms the basis of the themes unpacked in 21 songs, including a pair of non-musical skits from comedian Druski for comic relief.
SWAG explores the dynamics of love and romantic relationships (“All I Can Take”, “Daisies”, and “Yukon”), emotional vulnerability (“Go Baby”), the celebration of a union (“First Place” and “Devotion”), fighting to keep the fire of love burning (“Walking Away”), and the sexual aspects of two people hot for each other (“Sweet Spot”). There are, however, areas where Bieber looks inward and channels his frustrations through his little chit-chat with Druski in “Therapy Session” or by expressing praise and worship to God with “Glory Voice Memo”. Whether Bieber’s selection steers him towards dreamy strings and harmonies as heard on “Way It Is” alongside American rapper Gunna or conjures up influences of the late King of Pop Michael Jackson in “First Place”, the themes, sound, and soul all coalesce to bring forth a version of Bieber who seems altogether unbothered by the noise around him and unconcerned with registering a chart-topper.
The result is a feast not prepared to the taste of earworms, but for the heart and the soul – and the spirit, occasionally.
Check out “Yukon”:
SWAG doesn’t feel like studio slop – his more recent works don’t in all honesty. With this one, Bieber doesn’t open a crack to let his listeners peek into him; his generosity has given him the courage to go all out, letting loose and holding nothing back. It’s raw, open, and unflinching.
With this one, his version of love isn’t cloying immaturity; it’s realistic and grounded in the honesty of a man looking for deep and meaningful connection. His understanding of fun has transcended juvenile satisfaction, reaching echelons of perverted yet fully-realised inclinations. His style is not for radio or chart sensibilities but for the pure expression of emotions and thoughts and prayers that will no doubt resonate with those who live their lives honestly and without running away from who they are and what they truly feel on the inside.
