After four years of relative silence and a public split from longtime manager Scooter Braun, Justin Bieber has returned quieter, and without the glitz of a traditional rollout. “SWAG, ” his seventh studio album, arrived without warning on July 11, 2025, marking a turning point for the now-veteran pop star. No singles, no interviews, no music videos, just an album, dropped into the chaos of a very public career reset.
Still, Bieber knows how to make a splash. Times Square, downtown LA, and even Reykjavík lit up with cryptic “SWAG” billboards the night before release, and by morning, the album had shot to the top of Spotify and Apple Music’s global charts. The lead single, “Daisies,” earned 8.5 million streams within 24 hours, debuting at No. 1 on Spotify US before settling at No. 5 three days later. If “SWAG” is meant to mark Bieber’s grand return, it’s a confusing one because it’s a lukewarm collection of ideas that rarely land.
The opener, “ALL I CAN TAKE,” sets the tone with retro-tinged 1980s R&B vibes, anchored by a lush chord progression and danceable groove. It’s one of the album’s standout moments, confident and familiar without feeling stuck in the past. “DAISIES,” the album’s unexpected lead single and second track, is slick but underwhelming. The song is polished, but its subdued energy keeps it from reaching the emotional or melodic highs it seems to promise. The hook feels muted, and the production lacks the bite of Bieber’s earlier hits. “YUKON,” the third track on the album, follows with pitched-up vocals and woozy production that push Bieber into more abstract territory. It’s strange but refreshing. Elsewhere, “SWAG” tries to dig deeper both emotionally and sonically, with songs like “GO BABY,” a heartfelt ode to Bieber’s wife, Hailey, that explores themes of intimacy and perseverance under the spotlight. It’s one of the more sincere tracks, though its minimalist arrangement keeps it from fully soaring.
Unfortunately, not all of the album sticks. Songs like “THINGS YOU DO” and “BUTTERFLIES” were pretty forgettable tracks. Several short voice memos are peppered throughout the album, presumably meant to add rawness or narrative cohesion, which is appreciated, but they often feel like filler to pad out the album.
The 15th track, “SWEET SPOT,” revives the energy with a welcome jolt. It’s catchy and playful, boosted by a feature from Sexyy Red, who delivers a sharp, punchy verse that brings some much-needed dynamism to the back half of the album.
Overall, “SWAG” showcases Bieber’s growth but falls short of delivering a truly memorable listening experience, coming across as somewhat disjointed and uneven.
Rating: 5/10