Justin Bieber- Swag
Label: Def Jam
Producers: Justin Bieber, Carter Lang, Daniel Caesar, Daniel Chetrit, Dijon, Dylan Wiggins, Eddie Benjamin, Eli Teplin, Harv, Knox Fortune, Mk.gee
The surprise seventh album from Justin Bieber brings the former teen-heartthrob and pop megastar out of a self-imposed four-year retreat from the public eye, and the viscous paparazzi obsession that has plagued him since he broke through as one of the industry’s earliest viral sensations a decade-and-a-half ago. But despite the braggadocious titling, this album does not find Bieber looking to reclaim the glamour and celebrity of his peak years. Rather it’s a remarkably stripped, lo-fi effort which proves to be his most intimately-toned album to date, and the most dramatic artistic pivot since his mature, coming-of-age high-water mark, Purpose a full decade ago.
Now that comparison doesn’t automatically register Swag as a record of the same caliber of Purpose. At times, the extensive track list combined with the more minimalist production can lead to chronic monotony, while the crowded production roster that plagues so many mainstream pop, R&B, and Hip-Hop records can conversely make the creative compass of the album feel a bit scattered. All of this can make it an exhaustive listen for those outside the collective of devoted Beliebers. Nevertheless, Bieber should definitely be applauded for pursuing such a non-mainstream approach to the record, demonstrating a clear prioritization of artistry over commerce. And there are certainly slow-growing gems to be uncovered throughout patient, repeat lists of the record.
He also doesn’t completely sacrifice pure pop contagion for a moodier aesthetic. Tracks like “Daisies” and “Yukon” (which interpolates Eminem’s “Untitled”) are incredibly sly in their infection, and with the hushed rock rhythms of “Daisies”, Bieber has actually delivered one of the catchiest and most memorable singles of his durable career. Meanwhile, confessional and vulnerable moments like “Go Baby”, “Things You Do”, “Butterflies”, “Walking Away”, and others find the artist wearing all of his emotions, affections, regrets, and scars on his sleeve, whether it be in reference to his marriage, his celebrity, or the difficulty at times in reconciling the two. As stated earlier, Bieber has been blooming as a narrator and songwriter for well over a decade. This record finds him growing only more introspective and comfortable in letting those intimate reflections shine through in his music, adding further depth to a career often unfairly maligned for its lack of maturity or depth.
The litany of collaborations, with appearances by Gunna, Dijon, Lil B, Sexxy Red, Cash Cobain, and Eddie Benjamin among them, have varying degrees of success in adding value to the overall record. “Devotion” with Dijon tends to shine through as the best of these moments, proving to be a lilting showcase of Bieber’s underratedly soulful R&B chops. The raunchy and vulgar “Sweet Spot” with Red proves to the album’s low-point, with its explicitly graphic lyrics and delivery sticking out like a sore thumb. It’s unnecessary to have a debate here about the purpose of such sexualized material, but it’s inarguably out of place within the confines of this record. That this is the album in Bieber’s chronology that contains this performance will forever be a puzzling fact. In contrast, the intermittent interludes and spoken moments captured from the studio prove to be a saving grace in this arc of the album. The most affecting of these outtakes proves to be the minute-long conversation with influencer Druski, “Therapy Session”, where Bieber opens up about his struggles with mental health. This revealing except adds greater weight and personal intimacy to the record’s most reflective moments. However, that it’s immediately followed by the afore-derided “Sweet Spot” is a glaring misstep that is challenging to recover from as the album closes out.
In the end, Swag is very much emblematic of both Justin Bieber the man and the artist, and his overall story. It’s a tad messy; entertaining in its very best moments, and cringeworthy in its worst. That said, it feels like the next natural evolution in the perfectly imperfect pop career of the man. His efforts don’t always deliver consistently, but they’re very rarely not captivating in the very least. And there are plenty of bold and satisfying moments throughout this album. These high-points again position him as a young pop star with the merit and potential for continued longevity that very few of his contemporaries with similar origins could ever boast. I’ll always be curious about his next move, and his return will stand as one of the major pop events of 2025.
Track Listing:
- “All I Can Take” (Justin Bieber, Eddie Benjamin, Carter Lang, Dylan Wiggins, Daniel Chetrit, Tobias Jesso Jr., Jackson Morgan)
- “Daisies” (Bieber, Dijon Duenas, Michael Gordon, Lang, Wiggins, Benjamin, Chetrit, Jesso)
- “Yukon” (Bieber, Duenas, Lang, Wiggins, Chetrit, Tausheed, Marshall Mathers, Kejuan Muchita, David White, John Medora, Robert Crawford, Michael Crawford)
- “Go Baby” (Bieber, Benjamin, Wiggins, Lang, Eli Teplin, Jesso, Morgan, Chetrit)
- “Things You Do” (Bieber, Lang, Duenas)
- “Butterflies” (Bieber, Benjamin, Lang, Wiggins, Benjamin, Chetrit, Jesso, Morgan)
- “Way It Is” featuring Gunna (Bieber, Benjamin,Lang, Wiggins, Eli, Teplin, Jesso, Morgan, Chetrit)
- “First Place” (Bieber, Benjamin, Lang, Wiggins, Kevin Rhomberg, Jesso, Morgan, Chetrit)
- “Soulful” with Druski (Bieber, Drew Desboardes)
- “Walking Away” (Bieber, Lang, Wiggins, Jesso, Morgan, Chetrit)
- “Glory Voice Memo” (Bieber, Lang, Wiggins, Chetrit)
- “Devotion” with Dijon (Bieber,Duenas, Ashton Simmonds, Lang, Wiggins, Chetrit)
- “Dadz Love” with Lil B (Bieber, Brandon McCartney, Wiggins, Lang, Rhomberg, Chetrit)
- “Therapy Session” with Druski (Bieber, Desboardes)
- “Sweet Spot” with Sexxy Redd (Bieber, Janae Wherry, James Harris III, Terry Lewis, Elmer Bernstein, Benjamin, Lang, Wiggins, Jesso, Morgan, Chetrit)
- “Standing on Business” with Druski (Bieber, Desboardes)
- “405” (Bieber, Benjamin, Lang, Wiggins, Jesso, Morgan, Chetrit)
- “Swag” with Cash Cobain and Eddie Benjamin (Bieber, Lang, Wiggins, Cashmere Small)
- “Zuma House” (Bieber, Lang)
- “Too Long” (Bieber, Benjamin, Bernard Harvey, Lang, Wiggins, Jesso, Martin, Chetrit)
- “Forgiveness” performed by Marvin Winans (Rick Founds)
The 706 
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