Justin Bieber's latest album, Swag II, expands on its predecessor with an impressive addition of 23 tracks. However, the album's title isn't the only aspect that feels uninspired. Just like the original Swag, released merely two months ago, Swag II brings together a buzzworthy lineup of producers and writers, all known for their contributions to the R’n’B genre. They draw on a meticulously curated aesthetic, blending influences from the Dangerous era of Michael Jackson, the lush arrangements of D’Angelo, the glitchy, retro-futurist sonics of Jai Paul, and the sun-drenched textures provided by contemporary collaborators like Mk.gee and Dijon.
Despite the impressive production, the songwriting leaves much to be desired, resulting in an album that prioritizes atmosphere over substance. The opening track, Speed Demon, recycles Bieber’s “is it clocking to you” meme, delivering it with a bright, funky bravado and a bizarrely memorable chorus about “checking these chickens.” However, for a track that boasts ambition, it surprisingly lacks the adrenaline needed to match its energetic production. This pattern continues throughout Swag II, where many tracks offer an intriguing, textured backdrop for Bieber's emotive vocals but ultimately fail to deliver a satisfying payoff.
Tracks like Oh Man illustrate this repetition, as the title is merely reiterated without any substantive lyrical progression. Meanwhile, Open Up Your Heart, a ballad that nods to Phil Collins, hints at a potential key change but disappointingly fails to evolve beyond its initial premise. Even Love Song, adorned with a beautiful yet chaotic string section, falls short of its promise, leaving listeners unfulfilled as Bieber laments his desire to write his wife “a good one.”
Bieber's lyrical shortcomings are most evident in tracks like Everything Hallelujah, where a profound realization about faith is reduced to mundane observations, such as “brush my teeth, hallelujah.” Similarly, the nearly eight-minute closing track, Story of God, which recounts the tale of Adam and Eve with the co-authorship of a pastor from Bieber's favored celebrity megachurch, is accompanied by generic ambient sounds that dilute its intended sincerity.
Interestingly, Swag II shines brightest when it fully embraces pop sensibilities. Tracks like Don’t Wanna demonstrate a playful energy reminiscent of Michael Jackson, thanks in part to UK alt singer Bakar's contribution. Moreover, the Dijon co-written track, Bad Honey, brims with squirmy synths, showcasing Bieber's conflicted feelings as he sings, “If you’re bad, honey, why you look so good?”
In a more reflective vein, Moving Fast features soft, hazy guitar work and contemplations about a rushed life, injecting genuine pathos into the album. Safe Space also diverges from the norm, transitioning into Baltimore club music, offering a refreshing sense of freedom that feels exhilarating.
From a critical standpoint, Swag II can be seen as a product of the current music landscape, where aesthetic trends and a focus on quantity often overshadow quality, especially in the realm of streaming platforms. Bieber is not alone in navigating this complicated terrain, as many pop artists engage in similar practices. However, with talented collaborators like Dijon, who recently released the bold and idea-rich album Baby, one can't help but feel that Swag II falls short of its potential.
While there are standout tracks that could have made a genuinely surprising statement for Bieber, they remain buried within a sea of repetitive, uninspired songs that lack a compelling message. Ultimately, Swag II presents an under-edited exploration of alternative sounds, leaving listeners yearning for more depth and creativity.
