Justin Bieber ‘Justice’ Album Review
Justin Bieber’s sixth studio album, Justice, explores a new pop landscape. The highly anticipated album was released on March 19th and it did not disappoint. After spending the past year in the studio perfecting his album, Bieber made sure that Justice had “something for everyone” to listen to. The album includes 16 songs, with 3 exclusive tracks “Redeye,” “Angels Speak,” and “Hailey” sold separately as CDs at Target and Walmart. A week after the release, the popstar released the deluxe version, Justice (Triple Chucks Deluxe), adding 6 more singles—featuring artists Lil Uzi Vert, Jaden Smith, Dababy, Quavo, and Tori Kelly—to the already impressive roster on the standard album.
If you didn’t have Bieber Fever before, you’ll probably have a bad case of it after listening to the album—or at least a decent case. The album is truly a stylistic piece. From the variety of genres within the songs to the organization of the tracklist, it’s clear that Bieber took the time to carefully curate this album. The first half of the album consists of romantic love ballads, deep heartfelt songs, and relaxed beats. The second half sounds almost like an entirely different album, switching over to stylistic pop jams, upbeat dance hits with an 80s feel, and even swanky R&B and hip-hop songs. This album is different from anything Bieber has released in the past—showcasing his growth in terms of the sound of his music, and the purpose behind it. Upon the release of the album, he stated that the objective of the Justice era was to “provide comfort to the listener” and to “provide another outlet of connectivity” as many people have been feeling isolated.
While Bieber is an impeccable solo artist, he has always been one to collaborate and share his platform with other artists—hence why there are so many featured artists on this album. Artists like Chance The Rapper and Khalid are more distinguished, while other artists like The Kid Laroi, Giveon, and Dominic Fike are on the rise. The most striking voice on the album is not the voice of a musician, but that of Martin Luther King Jr. Yes you heard it right, Martin Luther King Jr., the leader of the American civil rights movement. Bieber went to the MLK estate to get clearance for the use of King’s audio recordings on his album. We get to hear MLK’s voice not once, but twice, on the album. A clip from King’s 1963 “Letter From a Birmingham Jail” was used in the opening track “2 Much” while a clip from King’s 1967 sermon at the Ebenezer Baptist Church was used midway through the album in the “MLK Interlude.” Bernice King, the daughter of Martin Luther King Jr., even thanked Bieber in a tweet for supporting and honoring her father’s work.
The most notable aspect of this album is the wide range of genres that it took inspiration from. Between Pop, contemporary R&B, Dance/EDM, Pop Rock, and Afropop, there are plenty of styles for listeners to enjoy (it might even take two or three listens to truly soak it all in). While the thought of having a variety of song styles on one album may seem chaotic, it works in Bieber’s favor. Each new song is like a surprise, yet the album never loses focus. On the same topic of ranges, Bieber’s strong vocals are important to take note of. From the heaviness of his chest voice to the softness of his riffs and falsettos, this album showcases an impressive expansion out of his normal vocal range.
This new musical chapter truly documents the creative growth of Bieber as an artist. And if Bieber is anything, he is a versatile artist; Justice is here to prove that.