Justin Bieber’s Surprise Album Swag Receives Mixed Reviews: A Mature, Confessional Shift in Sound

Earlier today, Justin Bieber surprised fans and the music industry by dropping his first album in four years, Swag, with less than 24 hours’ notice. The Canadian pop star’s seventh studio album is now out, and critics are sharing their initial reactions to this unexpected release.

Across reviews, writers recognize Swag as more than just a pop comeback. Instead, it represents a more emotional and confessional side of Bieber, reflecting his growth since becoming a father after 2021’s Justice.

Billboard’s Andrew Unterberger notes, “Within a couple tracks of Swag, it’s pretty clear this is Bieber as we’ve never really heard him before — stripped of most of his usual big pop trappings, with a much more organic-sounding, alt-R&B-focused sound aided by recognizable sonic architects like Dijon, Mk.Gee and new primary artistic partner Carter Lang supporting his tender ballads of love and devotion.” He adds that fans expecting radio hits like “Sorry” or “Peaches” might be disappointed, but those who enjoyed Bieber’s more intimate albums like Journals or Changes will find much to love here.

Meanwhile, The Hollywood Reporter’s Ethan Millman describes the album as “a bit over-stuffed,” with Swag running 54 minutes over 21 tracks, including interludes featuring comedian Druski. Millman highlights Bieber’s embrace of R&B (“R&Bieber”) while blending hip-hop, pop, and gospel influences. He remarks that the album balances earnestness with a playful attitude, noting that “calling an album Swag in the year 2025 is itself a bold choice.” Despite feeling bloated at times, Millman sees Swag as a strong step forward in Bieber’s evolving sound.

One common critique relates to the lyrical depth. The Guardian’s Rachel Aroesti writes, “Lyrically, however, Swag isn’t such a classy and thoughtful affair. … You would struggle to find much evidence of a three-dimensional human being in his lyrics, which are low on specifics, insight or originality.” She praises the album’s evocative sound but ultimately calls the overall impression “one of eerie emptiness,” describing Swag as having “moments of brilliance” but not a long-awaited masterpiece.

However, some reviewers appreciate the album’s emotional context within Bieber’s career. Stereogum’s Tom Breihan calls Swag “made by someone who uses music to cope and who has not had an easy time coping lately.” He notes the absence of longtime co-writer Poo Bear and credits Bieber for crafting an album focused more on vibes than radio hits. Breihan hopes the more conventional pop album reportedly slated for later won’t overshadow this mature, vibe-driven Bieber.