OPINION: Justin Bieber's New Album Doesn’t Do Him Justice
Sofia Aguilar ’21
Via Def Jam Recordings, Justice cover art
One year and one month since his previous project Changes (2020), Justin Bieber has released his sixth studio album, Justice (2021). Despite Bieber’s intent for the album to “provide comfort, to make songs that people can relate to and connect to so they feel less alone,” the majority of the tracks lack substance in their lyrics or production.
On the surface, the project’s concept is clever. The name “Justin” is derived from th eLatin word meaning “justice,” and in a world mourning the death toll of the pandemic, minority-targeted hate crimes, police and state violence, and the general incompetence of elected government officials, justice is what we’re seeking now more than ever. But fighting for it and slapping it on an album cover are two different things.
Not to mention that Justice has recently found itself the subject of numerous controversies.
Chance the Rapper’s comparison of the album to Michael Jackson’s Off the Wall (1971) didn’t stop plagiarism accusations from the French electronic music duo Justice over the unauthorized use of their cross logo on Bieber’s album artwork and merchandise, though neither artist can claim to have invented the symbol.
Nor did it prevent universal backlash for Bieber’s use of not one but two Dr. Martin Luther King speeches on the track list, including one song entitled “MLK Interlude.” Bieber explains that his intent was to amplify Dr. King’s message of unity and activism for his younger audience.
But who hasn’t heard of MLK? The theme doesn’t carry over to the rest of Bieber’s songs, all of which tread familiar territory: his love for his wife and struggles with fame. At best, the interlude comes across as awkward lip service to Black Lives Matter and at worst, just plain inappropriate.
The half-heartedness of Bieber’s activism does carry over to the rest of the album.
Both alone and nestled between other songs, the singles, particularly “Holy” and “Anyone”, can’t hold their own or my attention for long. Whether it’s their slow pacing or empty lyrics, they’re the most boring songs on the album to listen to.
Maybe Bieber is trying to reinvent the idea of album singles as radio-friendly or pop-heavy, given that streaming services are taking precedence over traditional radio for his target demographic. But all he’s doing is releasing music that didn’t excite prior to the album release (which is the primary goal of singles) and, even worse, doesn’t fit or serve the overall sound of the album.
Album promo photo via Billboard
Not even the many featured artists––including Quavo, Lil Uzi Vert, and Tori Kelly–or promising collaborations can save Justice. I barely noticed Khalid’s presence on and after the second verse of “As I Am,” and “Unstable” doesn’t showcase the best vocals from The Kid LAROI, let alone Bieber.
“Peaches” is both the best collaboration and best track on the album overall. Featuring verses from Daniel Caesar and Giveon, the song is the perfect blend of R&B and soul, and the first time since Journals (2014) that I’ve seen Bieber embrace R&B to such a successful degree.
I especially enjoy the bouncy bass line and, if not clever, catchy chorus (“I get my peaches out in Georgia, ooh yeah, shit / I get my weed from California, that's that shit…I get my light right from the source, yeah, yeah that’s it”), which no doubt helped the song go viral on Twitter two days before the album’s release and become a fan-favorite.
Two other memorable songs include “Die For You” and “Love You Different” for their play with genres both new and familiar to Bieber. Listed directly after “MLK Interlude,” the former is perhaps an ironic allusion to Dr. King’s martyrdom but is unique from the rest of Justice through its heavy synth production and New Wave elements. Chance the Rapper’s reference to Michael Jackson becomes clear with verses that resemble Jackson’s hit 1982 single “Beat It”, though otherwise the differences are stark.
“Love You Different,” meanwhile, harkens back to the tropical house and dance-pop production that made Bieber’s fourth studio album Purpose (2015) so successful, reminiscent of his songs like “What Do You Mean?” and “Sorry.” It’s a pleasant homage to his previous work, but songs that similarly complement Bieber and the overall sound of this new release are few and far between.
Despite the tracks that do work, Justice is far from the best of Bieber’s discography. The sheer number of featured artists is admirable, as is the attempt to be more than just a pop album and instead a comfort in current times or, at its most determined, a call to action. But it suffers from its own ambition and, in the end, Bieber doesn’t do himself or his collaborators justice.