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Justin Bieber is a chill, God-fearing bro on the messy yet beautiful ‘Swag’

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Every few years, Justin Bieber sheds the tough exterior of the teen pop sensation he became at age 15 to unveil the soft and unique R&B artist that has always been within him. He first showed this transformation in 2013 through his album “Journals,” and more recently in 2020 with “Changes.

Neither project managed to replicate the success of his more popular, youthful work, but each seemed like a significant turning point for an individual navigating the challenges of early fame. At 31 years old, he has once again achieved this feat with “Swag,” an unexpected album released on Thursday night, mere hours after announcing its existence.

Similar to his previous releases, the 21-track album titled “Swag” follows a period of transition and upheaval for Bieber. In 2022, he canceled a world tour following the release of the “Justice” album due to prioritizing his health. In 2023, he ended his professional relationship with his long-time manager, Scooter Braun. Last year, he and Hailey Baldwin welcomed their first child together. Additionally, rumors about his health circulated after videos surfaced of him engaging in confrontations with paparazzi. Notably, he also sold the rights to his music catalog for approximately $200 million during this time.

He informs a photographer in a clip that recently became very popular (and was even featured on the internet last month), “It’s not obvious to you that I’m conducting business while standing here,” he says. The song “Swag” by Bieber takes his melodious singing and pairs it with spacious, relaxed beats featuring soft synths, twangy electric guitars, and echoing chillwave-inspired ’80s rhythms.

The “Swag” album sets itself apart from “Journals” and “Changes” as it presents a grittier, more spontaneous vibe. The production maintains a muddied, blurred quality throughout, and the record contains several demo-like tracks that seem to be unpolished voice memos Bieber sent directly from his phone to the studio producer. One such track, a charming gospel-blues piece named “Glory Voice Memo,” is included in it. This suggests that the album’s theme of messiness reflects Bieber’s personal life, which includes his association with a Christian organization some perceive as cult-like.

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In the song “Butterflies,” he croons about how money comes and goes, but what remains is the love we cherish. This tune samples one of his paparazzi encounters. The track “Walking Away” offers a gentle psychedelic soul-rock rhythm, with him candidly discussing the trials of his closely watched marriage. Justin Bieber reportedly paid millions to Braun (who some claim settled an old debt) to pen on Instagram that “Swag” is undeniably the most genuine representation of Justin Bieber so far.

By refining his musical style, the singer is adapting to the raw and uniquely eclectic atmosphere of contemporary pop as heard on records by artists such as SZA, Charli XCX, Lana Del Rey, and even Drake – exceptional talents who have dominated streaming platforms not through a polished, consistent vision but by following unusual impulses and making listeners feel like they’re part of the creative process. One of Bieber’s primary collaborators in this endeavor is Mk.gee, the enigmatic guitar prodigy whose 2024 debut made him one of the most discussed musicians among his peers; “Swag” seems to be influenced by how Mk.gee approaches crafting a great pop song by balancing innovation and familiarity. Other members of Bieber’s creative team, who joined for relaxed jam sessions at his Los Angeles home, include Dijon, often partnered with Mk.gee, and Carter Lang, who has closely worked with SZA.

Music

On Friday evening, the popular boy band kicks off a six-week residency at the modern, spherical concert hall.

Due to Justin Bieber’s keen senses and refined taste, as seen in his early adoption of remixes like “Essence” by Wizkid and “Despacito” by Luis Fonsi and Daddy Yankee, it’s not surprising that by 2025 he might create a song envisioning Phil Collins collaborating with Scritti Politti. Among his white male pop star peers, Bieber is unique, enjoying experimentation and embracing rough textures more than others like Benson Boone who performs polished stunts at awards shows, or Ed Sheeran, who’s moving back to mainstream pop after a folk-focused period. There’s also Morgan Wallen, whose song “I’m the Problem” has such a gloomy theme that its success might have negative consequences for him.

Does Bieber enjoy being an exception to the norm? In one of several embarrassing interludes on “Swag,” internet comedian Druski tells Bieber, despite his white skin, his spirit is Black – a remark that seems unguided by a strong manager as Bieber simply replies, “Thank you.” However, it’s hard to argue with Druski’s observation that there’s soul in this album: Bieber’s vocals on this release sound more natural and instinctive than ever, particularly in tracks like the rhythmic “Daisies” and the country-infused “Devotion,” and even when they’re not great, his lyrics have an endearing awkwardness, as seen in “Go Baby,” where he promotes the iPhone case-cum-lip gloss holder from his wife’s beauty brand, and “405,” a song about flirting with Baldwin in the car that rhymes “accelerate” with “Spider-Man is on your tail.

Shaggy, endearing, frequently quite stunning, the LP proposes that “swag” isn’t something that can be taught or learned like a skill (as even Bieber once attempted to hire someone for this purpose). Instead, it’s more about one’s mindset, buddy. Does that resonate with you?

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2025-07-14 00:01

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