Justin Bieber, Changes | Album Review 💿

After nearly a five-year hiatus, Justin Bieber returns with his comeback album, Changes.  The problem is, it’s an underwhelming affair.  

A new Justin Bieber album, Changes, has finally arrived! The buzz should’ve been absolutely monumental considering he last released an album in 2015 (Purpose).  The problem that the 25-year old pop star ran into was (1) sketchy/meh advance singles and (2) being musically woke following a lengthy hiatus. “Yummy” drew its fair share of smirks, while “Get Me” was respectable, but not game changing, and perhaps the “Intentions” were good, but the execution – again meh.  Ultimately, while I am thrilled that Bieber finally released a new album – he was a big deal – I’m not thrilled with the results.

“All Around Me”

Changes commences with “All Around Me,” where Justin Bieber expresses his unconditional love for that special person in his life.  Vocally, he sings well; he’s quite expressive in his performance.  The theme and vocal execution are both pros.  The song itself, however, feels undercooked; it’s not a distinct, or particularly dynamic way to commence the album.  “Habitual” continues the love-centric vibes, but adds an anchoring, contemporary beat, which provides some punch.  Again, he’s on-point vocally, showing off his lower register as well as some falsetto. Still, two songs into Changes, the rub is that the song isn’t particularly cutting edge.  Sure, we get “My love for you’s habitual / Not for a moment, but forever,” but the way Bieber expresses this sentiment is merely okay.

“Come Around Me” once more benefits from its production (Jason “Poo Bear” Boyd and The Audibles) as well as Bieber’s pipes.  Here, the modus operandi is sex, with a number of lyrical examples.  Exhibit A: “Oh no, next thing, you’re on top of me / Okay with this, I call that a win-win.” Exhibit B: “Let’s get it in expeditiously.” Exhibit C: “Who taught you how to drive stick? / You a fool with it, love the way you fool with it.” Yeah… I don’t even know what to say that…

“Intentions”  

Once more, it is Poo Bear and The Audibles who handle the production end of things on “Intentions” featuring Quavo. Like the songs preceding it, the urban-tinged production suits Justin Bieber quite respectably.  Still, there’s nothing game changing about the record itself.  Again, Bieber delivers a pleasant performance, never overreaching or over singing.  That said, he’s just not that potent – he doesn’t pack that KO punch. Quavo doesn’t really atone for what’s missing either.  The music video may be notable, but the song isn’t nearly as accomplished…

“Yummy”, the promo single from Changes, is also well-produced.  The much-maligned record blurs the lines of pop, R&B, and hip-hop, which is characteristic of modern music in general.  Still, the sound won’t change your life mind you – it’s tried and true, been there, done that.  Bieber sings well, delivering a smooth, rhythmic performance, once more delivering a balance of full-fledged pipes, falsettos, and soulful runs.  The songwriting, however, is where critics and skeptics take issue with “Yummy.”

It encompasses love and sex, presumably for his wife, Hailey.  The chorus is corny but catchy, with ‘yummy’ representing, um, ‘getting down.’  On the verses, he worships her, while also referencing the sex.  On the first verse, he sings, “Bonafide stallion / It ain’t no stable, no, you stay on the run.” On the second, he asserts, “Standin’ up, keep me on the rise / Lost control of myself, I’m compromised.” Clearly, for Bieber, that ‘yummy’ in hella potent.  Sigh, if only “Yummy” and Changes was as potent as the pleasure he sings about.

“Available” 

“Available” continues the narrow scope of Changes, being totally honest.  The musical backdrop and vocals – well-rounded.  The theme? Love – relatable but…  The problem is, six songs into the album, it’s more forgettable and predictable than all warm and fuzzy, let alone engaging.  On “Forever,” Bieber brings in featured guests in Post Malone and Clever.  The results are okay, but again, nothing game changing – the needle isn’t moved.  One of the issues on “Forever” is a lack of musical variation.  It’s quite minimalist, so even a few more chords added to the harmonic progression through the majority of the record may have made for a more compelling listen.

Before even listening to “Running Over,” it’s hard not to roll your eyes.  Why? Well, one has to question why Justin Bieber felt it necessary to feature Lil Dicky… Even after prejudging, “Running Over” is no tour de force.  “Post intercourse when you walk by / More buns than a Shop Rite” doesn’t exactly scream depth Lil Dicky… Anyways, like “Forever,” the script lyrically and musically is just too predictable. On “Take it Out on Me,” we learn that Bieber is her “Psychiatrist, let’s talk about it / We can use sign language, I know your body.” Jesus!  

“Second Emotion”

Travis Scott joins the ‘party’ on “Second Emotion.” So, with Scott onboard, is “Second Emotion” LIT? Unfortunately, the answer is HELL NO.  Despite Scott’s beloved ad-lib appearing prior to his verse, it still doesn’t quite ignite that spark on Changes.  It’s okay, and perhaps that’s sufficient for some, but thinking bigger, it’s meh – could’ve been stronger.

You can make the argument that ✓ “Get Me”, another advance single, trumps “Yummy.” This contemporary R&B joint possesses a sensual sound from the onset.  The producers who construct the lush, rhythmic, and smooth backdrop are Poo Bear, Vinylz, Boi 1da, CVRE and Jahaan Sweet. Like the production, Bieber continues to deliver smooth lead vocals, with his decadent falsetto shining like a beacon.  Structurally, following the instrumental intro, Bieber sings the pre-chorus, chorus, first verse, pre-chorus, and chorus – that might be a bit too much Bieber early on. Kehlani brings a much need contrast on the second verse (“Ooh, there’s so much chemistry / Like a chemist, how you finishin’ my sentences”), adding a bit more oomph to this record. Bieber and Kehlani definitely sound nice when singing together.  It’s one of the better moments from Changes.

On “E.T.A.,” Bieber is “Biting nails, …nervous… so anxious” awaiting his love.  Safe to say, he’s incredibly horny on this soulful, guitar-fueled slow jam.  As he says himself, “Only place I wanna be / In the bed, where we lay our head.”  As for those “Changes,” well, they finally come along as the unlucky thirteenth track of the album.  Another guitar slow jam, though only two minutes and some change, again, credit him for his beautiful vocals.  That said, lyrically, does he really dive particularly deep into the changes? No – it feels more surface level than transcendent.

“Confirmation” 

✓ “Confirmation” possesses a chill, soothing vibe, which is a selling point. Additionally, Justin Bieber continues his gorgeous vocals, and the production is pretty sweet.  Second coming? No, “Confirmation” floats more than punches, but it’s one of the brighter spots on Changes because of its many virtues.  “That’s What Love Is” still suffers from one of the problems that plagues Changes – overindulgence – but love the rhythmic guitar work, harmonic progression, and the falsetto.  While “That’s What Love Is” still feels at least slightly underwritten, it feels more accomplished compared to other songs on Changes.

By the time we reach the penultimate record, “At Least for Now,” Changes could use a dramatic change of pace. Instead, Bieber gives us more of the same, with the result being a little too casual and chill as opposed to being a TKO.  He concludes with “Yummy (Summer Walker Remix)” which features – you guessed it – Summer Walker.  The thing is, “Yummy” was just okay in its original form, so even adding the lovely vocal talents of Walker doesn’t transform it into a surefire gem.

Final Thoughts

In some ways, Justin Bieber is more mature on Changes – he certainly appears to be dedicated to his wife.  That said, musically, he fails to ascend to the next level.  While he makes his point about love as well as enjoying sex (he’s a grown-ass man, can’t knock him), he doesn’t ‘bring the heat’ the way I wished that he would’ve.  Too many times Changes is blasé because there’s a lack of sufficient oomph, variation, and dynamic songwriting.  Yes, he’s made some changes, but musically, to be truly ‘lit’ in the 2020s, I need to hear more.  Interestingly, the singles released in advance of the project, are among the best better songs, even with their respective flaws.

✓ Gems: “Get Me” & “Confirmation”

Justin Bieber • Changes • Def Jam • Release: 2.14.20

Photo Credit: Def Jam