Justin Bieber delves into fame, faith, fatherhood with highly anticipated ‘Swag’

Justin Bieber attends the "Justin Bieber: Our World" premiere at Edge at Hudson Yards on Tuesday, Sept. 14, 2021, in New York. (Photo by Andy Kropa/Invision/AP)

A reflective Justin Bieber is baring his soul on a surprise album that has the pop star contemplating fame, fatherhood and faith, as well as mental health and his fractious relationship with social media.

The synth-heavy “Swag” hit streaming Friday after weeks of online teasers suggested something big was in the works. It delivers an eclectic collection that runs the gamut in style and lyrical content, albeit without the obvious melodic pop hooks of a “Ghost” or “Sorry.”

The mostly short-and-sweet R&B-leaning sonic experiments weave in manipulated vocals, bright and playful toplines, ’90s-esque slow jams and spoken-word interludes, and signal a 31-year-old artist grappling anew with heady milestones.

Universal Music Canada touted a creative burst in new directions.

“Inspired by his devotion as a husband and father, this new era of music has fuelled a deeper perspective and more reflective sound, resulting in some of his most personal music yet,” it said.

The Stratford, Ont.-native married model and entrepreneur Hailey Baldwin in a secret courthouse ceremony in 2018 and they welcomed their son Jack Blues Bieber last year.

It’s tempting to interpret the undulating “Go Baby” as a shout-out to his glamorous wife, especially the opening line in which he declares: “That’s my baby, she’s iconic, iPhone case, lip gloss on it,” while the ’80s-vibed “Dadz Love” seems steeped in new-parent idealism.

There are hints at strained marital history in “Walking Away,” but the prickly verses dovetail to renewed commitment in a chorus that vows: “Baby, I ain’t walking away, you were my diamond, gave you a ring.”

Aside from becoming a dad, much has happened since Bieber’s last full studio album “Justice,” in 2021.

In June 2022, he paused the North American leg of his Justice World Tour, including two Toronto dates, to deal with the fallout of Ramsay Hunt syndrome, which left half of his face temporarily paralyzed.

Bieber resumed the next month with several shows including stops in Italy and Brazil but paused again in September 2022, blaming exhaustion and telling fans through his Instagram account that he needed to focus on his health.

More recently, media scrutiny over his struggles with fame exploded after paparazzi shots of a tired and weary Bieber proliferated online and a video clip made the rounds last month in which he accuses a photographer of harassing him at the beach.

That viral moment included a much-memed rant, and the audio clip turns up on “Swag” in an interlude with Druski called “Standing on Business.”

Bieber appears eager to confront and explore on this seventh studio album, which enlists the production skills of studio stars including Dijon, Mk.gee, Knox Fortune and Daniel Caesar, with Vancouver artist Tobias Jesso Jr. among the credited songwriters.

They bring a fair bit of sonic variety to the album, from the sweet nostalgia that undercuts the raunchy subject matter of “Sweet Spot” with Sexyy Red to the crunchy guitar line and drum-swing on “Daisies,” to the jazzy gospel keys on “Forgiveness,” where pastor Marvin Winans takes the lead on vocals.

Other collaborations include Gunna, Cash Cobain, Lil B, Dijon, Eddie Benjamin, and comedian Druski, who pops up in three spoken-word interludes where he appears to counsel Biebs through the raw emotions of what it’s like just being the Biebs.

Fans looking for insight into the star’s deepest trials might want to jump to these snippets, including “Therapy Session” where the former child star laments: “People are always askin’ if I’m OK, and that starts to really weigh on mе.”

Early reviews have so far lauded “Swag” for willing to venture down new roads, but earned middling takes from The Telegraph, which called it “confused and messy,” and The Guardian, which bemoaned “inane lyrics” that “undermine a gorgeously produced R&B passion project.”

This report by The Canadian Press was first published July 11, 2025.