The wait is over—though not quite as long as Rihanna’s. Justin Bieber has returned with a new album, four years after Justice. He had been hinting for some time that he was working on new material, and now we finally get to hear it. Dropping without warning on July 11, Swagconfirms the Canadian artist as a pop star with a soul heart, at times evoking the spirit of Michael Jackson in his Motown era.
Just hours before the album was released, Bieber teased it by sharing the cover art, the title, a collection of family photos, and the full tracklist and list of collaborators—including Dijon, Lil B, Sexyy Red, comedian Druski, Gunna, Cash Cobain, and 2 Chainz.
Production credits go to Dijon, Mk.gee, Knox Fortune, Daniel Caesar, and others. One key songwriter on the album is Tobias Jesso Jr.
According to The Hollywood Reporter, Bieber had been hosting jam sessions at his Los Angeles home over the past few months with DJ Tay James, music director HARV, SZA collaborator Carter Lang, and Australian artist Eddie Benjamin. He also took a trip to Iceland to write, unwind, and finish the record.
The title says it all. The black-and-white album cover features his family, and the word “Swag”—which Bieber has used before—now takes center stage.
“Swag” is a slang term referring to someone’s natural confidence, style, and attitude. It’s often compared to having “flow,” though swag implies it’s effortless and innate—something that comes from within.
It’s a synonym for self-assurance, which seems to be exactly what Bieber wants to reflect—especially during a time when his health and mental well-being have been repeatedly questioned. With one word, he sends a clear message: external opinions and societal pressure don’t matter to him anymore. One single term, packed with meaning.
Justin Bieber and Hailey Bieber are seen out and about on January 25, 2023 in New York City. MEGA / GC Images
A Mature Pop Artist Comes Into Focus
In an industry dominated by Latin and urban trends, Bieber makes it clear he’s not chasing the wave. He’s always been a pop artist—and he’s staying true to that, now with a deeper, soul-infused edge that’s long been part of his sound.
The difference now is that he no longer needs clean, polished songs. He embraces improvisation, authenticity—music born from essence, not effort. A clear example is Zuma House, which feels like a home recording or demo that made it onto the album. Just his voice and guitar are enough to communicate exactly what he wants. No more overproduction.
This is a dark, emotional, and introspective album, where Bieber shows his maturity and creates moments of emotion—not rooted in melancholy, but in self-discovery and reality.
It’s fair to call this an honest album. Bieber explores themes that have marked turning points in his life—such as fatherhood and marriage. That’s why his wife, Hailey Bieber, and child appear on the cover.
But it’s not just music. The album includes short comedic sketches with Druski, the American comedian who brings a satirical edge to themes like fame, paparazzi, and the music business. They’ve worked together before, and now Druski features on three tracks: Soulfoul, Therapy Session, and Standing on Business.
“I’ve had to go through a lot of struggles as a human being, like everyone else—and I’ve had to do it in public. And then people keep asking if I’m okay, and that just starts weighing on me, you know? It’s like when someone keeps saying, ‘Why are you crying? Why are you crying?’ And I’m like, ‘Bitch, I wasn’t—but now I am, damn it,’” you can hear Bieber say in one of those voice notes, reflecting on the pressure of constantly being under mental health scrutiny.
You can also tell that the final touches were made just recently, with songs like Butterflies opening with a recent viral audio clip of Bieber confronting paparazzi: “You just want money, money, money, money, money, money, money, money. Get outta here, bro!”
Yes, there’s also space for sex—and that comes with the hip hop track Sweet Spot, featuring Sexyy Red, who recently collaborated with Bruno Mars. Together, they bring the album’s most sensual energy.
And on the flip side of those carnal desires, there’s spiritual depth with gospel artist and pastor Marvin Winans, who closes the album with Forgiveness. A spiritual moment many fans were expecting: “Lord, I lift Your name on high. Lord, I love to sing Your praises. I’m so glad You’re in my life. Can anybody feel that? I’m so glad You came to save us. You came from Heaven to Earth to show the way.” Amen.
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