The pop star steps out of the shadows after years of silence with an unconventional album that not only marks his artistic evolution, but also reflects the depth of his personal growth.
Is it clocking to you that Justin Bieber is standing on business? If it is, then you’ve probably heard that he recently released his seventh studio album, “Swag,” on July 11, 2025 — and caught everyone completely unawares. Not only is the album a pivotal turnaround from his signature mainstream pop stylings, but it might be his best album yet.
The Grammy-winning artiste leans heavily into R&B and bares his soul on the 21-track project, opening up about everything from his family life to his ongoing struggles with fame.
“Swag” is experimental at best, and at this stage of Bieber’s career, he’s earned the right to take career risks. Since finding fame at 13, he has become one of the very few artistes on the planet considered a global icon. With that kind of fame comes crushing public scrutiny — something he acknowledges on “Therapy Session,” a weighty conversation with comedian Druski, who plays his therapist. Druski notes that there are times when Bieber will be trolling online, and people come for his head (likely referencing his comments about wife Hailey Bieber on the cover of Vogue and the uproar that followed). In response, Bieber introspectively replies: “People are always asking if I’m okay… it starts to make me feel like I’m the one with issues and everyone else is perfect.”
Still spotlighting how being in the public eye has affected him, Bieber has become an advocate for clapping back at the invasive lens of the paparazzi. On “Standing on Business,” he revisits his now-viral quote: “You’re not getting it, it’s not clocking to you. It’s not clocking to you that I’m standing on business, is it?” And to be honest, the paparazzi deserve every bit of his wrath — because there’s rarely a line drawn between doing their job and outright invading someone’s privacy. Privacy is a right, celebrity or not.
Now 31, Bieber appears to be finding peace through music and family. Since the release of “Justice” in 2021, he’s welcomed a son named Jack, parted ways with longtime manager Scooter Braun, battled health issues, and faced speculation over financial troubles following the cancellation of his “Justice” world tour. But on “Swag,” he chooses to focus on what grounds him most: love and family.
“Daisies” is a tender love letter to his wife Hailey, with Bieber expressing how he misses her every time they’re apart: “counting the days… till I can see you again.” On “Go Baby,” he not-so-subtly shuts down social media speculation that his marriage is crumbling, singing her praise with “That’s my baby, she’s iconic, iPhone case, lip gloss on it.” While some listeners rolled their eyes at the simplicity of the lyrics, it’s actually genius. Through her skincare brand “Rhode,” Hailey created an innovative lip gloss and iPhone case combo that has become the brand’s standout product. Nothing screams love quite like your husband publicly acknowledging your business wins. And on “Things You Do,” he gets spicy — detailing exactly what Hailey does that drives him wild. (You can interpret that however you choose.)
He displays his deepest maturity on “Butterflies,” taking a ruminative look at life — something the Bieber of ten years ago, the one egging homes for laughs, likely wouldn’t have done. He acknowledges the fleeting nature of fame and money, but emphasizes that love — especially from those closest — remains constant. He tops it all off with “Walking Away,” an ode to not giving up on anything (namely, his marriage) even when things get tough.
For “Swag,” Bieber enlists Gunna on the smooth R&B cut “Way it Is,” with the rapper harmonizing and singing — something almost unheard of for Gunna. On “Sweet Spot,” he partners with Sexyy Red for a sensual, 90s-inspired track that echoes 50 Cent’s “Candy Shop” (and no, these tracks are not about sweets). Lil B, the godfather of internet rap, spreads positivity on “Dadz Love,” while the titular track “Swag” — arguably the album’s best collaboration — is a sonically rich masterpiece. Bieber’s vocals flow effortlessly alongside Eddie Benjamin and Cash Cobain as he declares himself a swag god and, in the same breath, worships his wife. The worship continues on the gospel-inspired “Devotion.”
“Yukon,” “405,” “First Place,” and “Too Long” round out the album, each reinforcing a simple but powerful message: perhaps the public has misunderstood Justin Bieber all along. On “Swag,” he pleads his case — as a devoted husband, father, and artiste — to the court of public opinion. The verdict? Not guilty. Why? Because despite being announced mere hours before release, Swag became the second-biggest debut album of 2025, earning 74.5 million downloads.
The album ends on a spiritual note with “Forgiveness,” performed by pastor and gospel singer Marvin Winans — a fitting finale for a project that feels more like a journey into Bieber’s mind than just a collection of songs. From who he was to who he is now, the evolution is clear.
There’s a lot of 2013 “Journals”-era R&B on “Swag,” but this time, it snowballs into something more powerful. Bieber is no longer making music just for the charts — he’s making it for the art. “Swag” is rumored to be the first in a line of major announcements from Bieber, including a more pop-focused album dropping later this year and a possible headlining spot at Coachella 2026.
“Swag” is Bieber at his best because it’s just him doing what he loves most — R&B. No wonder Druski correctly notes on “Soulful,” “Your skin white, but your soul black. I promise you.”
May the Grammy nomination for Album of the Year be with “Swag.”