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Yet, unlike other bloated deluxe editions that simply tack on extras, ‘SWAG II’ feels intentional, cohesive, and brimming with creative vitality.
The album adds 23 bonus tracks to the original ‘Swag’ (released just two months earlier in July), but remarkably, it manages to keep its runtime under 74 minutes. This restraint suggests a careful curation, songs that complement rather than dilute the existing body of work. The result is a sprawling but surprisingly digestible listen, a testament to Bieber’s sense of flow and the collaborative talent surrounding him.
Guest appearances are an immediate highlight. Nigerian singer Tems lends a radiant warmth to her feature, seamlessly blending her soulful tone with Bieber’s feather-light delivery. Bakar’s contribution is angular and textured, giving the album a stylish indie tilt. Hurricane Chris, both as a performer and producer, injects swagger and grit, recalling early-2000s Southern rap but with a modern polish. Lil B, ever the eccentric, brings humour and looseness, balancing Bieber’s earnest pop instincts with unexpected spontaneity. Meanwhile, Eddie Benjamin’s input, both vocally and behind the boards, adds emotional gravity, grounding the album in sincerity.
The production credits read like a cross-section of modern genre experimentation: Dijon, Carter Lang, Mike Will Made It, Buddy Ross, Daniel Chetrit, Mk.gee, Dylan Wiggins, and more. Their collective touch ensures no track feels static. From atmospheric R&B and stripped-down acoustic moments to rhythm-heavy rap detours and hazy electronic experiments, the soundscape refuses to settle into one lane. Bieber has always thrived in multi-genre environments, but here, the sheer variety feels more like a celebration of musical possibility than a strategic attempt to chase trends.
‘SWAG II’ navigates familiar Bieber territory, love, self-reflection, growth, and faith, but with a mature ease that makes even the more playful cuts feel anchored. There’s joy in the album’s lighter moments, but also a confidence in its introspection. This duality is perhaps why Bieber continues to resonate so deeply: he can pivot between pop star exuberance and vulnerable honesty without losing his core identity.
Among the many jewels of ‘SWAG II’, three tracks stand out as markers of Bieber’s growth and versatility. ‘Love Song’, a title that risks cliché, instead bursts to life with rustic, rumbling piano chords and drums that hit harder than almost anything else in his recent catalogue. It’s a production that sparkles and stomps in equal measure, giving Bieber the perfect runway for a chorus that’s both direct and instantly memorable. Then there’s ‘Mother in You’, an acoustic ballad that trades grandeur for intimacy. The stereo-mic’d guitars, recorded so crisply that you hear each scrape of the strings, cradle a lyric about paternal love that’s tender, even bordering on sentimental, yet deeply affecting in its specificity. Finally, ‘I Do’ stretches Bieber into art-pop territory, pairing skittering programmed drums with shoegaze-like synth textures and reverb-soaked guitar figures. Its chorus, simple in declaration but rich in delivery, cements it as both a heartfelt vow and an unexpected sonic detour. Taken together, these tracks illustrate Bieber’s knack for balancing accessibility with experimentation, offering listeners both comfort and surprise.
What makes ‘SWAG II’ so endearing is its spirit of generosity. Bieber could have easily released a handful of singles or left ‘Swag’ untouched, but instead, he offered fans a reimagined universe to immerse themselves in. The bonus edition does not feel like an afterthought; it feels like a gift, brimming with collaborations that elevate rather than overshadow, and production that challenges Bieber to adapt, stretch, and surprise.
At this stage in his career, Bieber is no longer proving himself; he’s enjoying the freedom of expansion. ‘SWAG II’ is less about reinvention and more about refinement, about showing how far he’s come while inviting listeners to join him in the wide-open space he now occupies. For longtime fans, it’s a feast; for casual listeners, it’s a reminder that Bieber remains one of pop’s most versatile and enduring figures.
‘SWAG II’ stands apart in the overflowing space of deluxe editions. It’s celebratory without being excessive, eclectic without losing coherence, and deeply human in its execution. More than a reissue, it feels like an affirmation: Bieber is still here, still experimenting, and still crafting music that feels as personal as it is universal.
Danielle Holian
Image: Renell Medrano
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