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Justin Bieber’s Review of ‘Justice’: A Testament to Loyalty and Faith in Mid-Level Bops




A testament to loyalty and faith that plays out in mid-level bops, it makes Bieber a worshiper and a penitent. The singer, now 27, spent his early teens chasing after pop stardom and even more trying to outrun her. His narrative arc of a resentful teenager struggling with drug addiction and the fame of a thirsty, church-going husband is well documented on Justice, which also talks about the fame trap and the insecurities and loneliness that can plague even the most blond famous people.

But mostly it’s about Hailey: At the opening of song 2 Much, which unfortunately reminds of Aerosmiths I don’t want to miss a thing, he coos: Two seconds without you is like two months / I don’t don’t want to close my eyes / I’m afraid I’ll miss too much. On Holy, a gospelly collaboration with Chance the Rapper, one of many songs that actually confuses a partner’s love with God’s love he runs to the altar like a track star. On Off My Face, a distant cousin, less catchy, not on the cocaine of I can’t feel my face Bieber is out of his loving face (One touch and you fucked me up / Higher than I’ve ever known).

Justice is experimenting with different styles, but almost everything is handled by the same Weeknd-type soft pop mixer, with less inventiveness and even more uneasiness. It’s not always great, or even good, and there is little novelty in its sound. But her concerns for marital bliss and religious redemption are courageous for a young pop star whose appeal, like that of all pop stars, depends on her ability to appear both hopelessly cool and romantically available. And, look, it’s sweet, even though Justice often approaches Ronald-Reagans-letters-to-Nancy’s needy levels of uxoriousness. Any listener who’s followed her volatile rise might now be worried less about Justin, who looks good, or at least good, and more about Hailey, who hopefully has a good group of girlfriends she can talk to because her husband looks great.

Perhaps because its creators felt that there are only a limited number of faith-affirming Hailey ballads that even Beliebers can handle, Justice takes a mule-type approach, with sweet wedding odes to the ‘front and party songs that also mostly talk about Hailey in the much higher back. half. The best track is the Lonely Ghost, a ballad about someone missing (Hailey, probably) perfectly suited to the unique concerns of midlife. Peaches is a retro R&B song, a collaboration with Daniel Caesar and Giveon that begins as a love ode to weed and ends with a love ode to missus.

Justice begins with a clip of Martin Luther King Jr. citing his letter from Birmingham Jail (Injustice Anywhere is a Threat to Justice Everywhere) and doubles in the middle with a recorded clip from one of the sermons of the king, the latter bound on either side in odes to Hailey, including one on how he would die for her. It is impossible to overstate how reckless it is, how unthinkable it is that none of the albums of the dozens of collaborators could have dissuaded Bieber from such deaf foolishness. I want to continue the conversation about what justice looks like so we can continue to heal, Bieber tweeted, although Justice isn’t having such a conversation.

It ends with Lonely, a spare piano ballad co-written by Billie Eilish collaborator Finneas OConnell, which contains some of Biebers finest and most filigree vocal works. It casts a ruthless eye on Biebers’ poorly spent youth, and those who trolled him: Everyone saw me sick / And I felt like no one gave an s — / They criticized the things I did as a silly kid.

It’s a transparent, not undeserved, offer for the kind of retroactive sympathy we recently gave Britney Spears, whose early 2000s battles mental health and addiction, and the overwhelming weight of teenage stardom, foreshadowed those Bieber would face in less than a decade. later. But Justice blatantly presents its pleas for fairness in a racial context in which it clearly has no interest. The only justice Bieber demands is for himself.

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