Justin Bieber’s My World 2.0 is a seriously good pop record.
March in the Year of Our Lord 2019 plays host to a number of important events: Brexit, St. Paddy’s Day, and the third anniversary of Ronnie Corbett’s death (god rest his soul). But more importantly, March 2019 marks two very special occasions: the 25th birthday of pop music wunderkind Justin Bieber, and nine years since the release of his ground-breaking first album.
It is no secret the Bieb’s sound has developed and changed dramatically between then and now, in much the same way the character of a world-famous superstar whose studio album discography began in their mid-teens would.
But in an age where Justin Bieber is preoccupied asking tough questions – what it is we mean, whether it’s too late to say sorry, and where we are now – it is even more important to ask: on a scale of one to five stars, where is My World 2.0 now?
The album opens dramatically to one of the hits that skyrocketed Bieber to stardom: ‘Baby’. Instantly, the listener is catapulted into the peril and heartache of a young teenage boy suffering through what could only be his first real breakup.
To a backing of staccato synth strings, textbook RnB drum loops, pop pianos and acoustic guitars the pubescent pop prince sings emotively about his confusion (“Are we an item? Girl quit playin’”), his devastation (“My first love broke my heart for the first time”) and his desperation (“I’ll buy you anything, I’ll buy you any ring”). Accompanied by a quick-fire rap from an almost painfully self-aware Ludacris on playground frolics and teenage romance, Bieber begins the album with an undeniably catchy track that no doubt caught the nostalgia of serious listeners.
My World 2.0’s second track, ‘Somebody to Love’, builds on the energy of the first with electro beats, indie-pop lead synths and rhythmic stabs that pepper in the cool intensity of a ‘90s trance classic. A thoroughly danceable track, Bieber drives the vibe of The Stereotypes’ production with lyrics alluding to forward motion (“For you I’d be runnin’ a million miles, Just to stand where you are”), pumping rhythms (“Step to the beat of my heart”) and larger-than-life gestures (“I’d rather give you the world, Or we can share mine”). In 2019, make no mistake: ‘Somebody to Love’ is the perfect pop song. In a fashion not unlike Robyn’s brilliant ‘Dancing On My Own’, the track’s heartfelt lyrics are given a levity through the production that nails a perfect balance without the two ever seeming at odds.
Tracks three to six of Bieber’s inaugural LP are a mishmash of entirely passable, but ultimately unremarkable tunes. Between the arpeggio-backed hip hop cheese of ‘Stuck in the Moment’, and ‘Never Let You Go’, a flowy RnB tune laden with eclectic percussive elements ripped straight from the likes of Toto and ‘90s-era Michael Jackson, Bieber provides two fairly distinctive tracks that not only dial down the album’s energy, but also its charm.
Bieber’s obligatory classic rock throwback, ‘U Smile’, has crystal clear roots in the likes of Journey and Boston, but never transcends filler status. Even ‘Runaway Love’, a cheeky nod to *NSYNC and the Backstreet Boys, can’t pull itself out of the characteristic mediocrity typically associated with Disney stars.
You could be forgiven for thinking My World 2.0 gets stuck in a rut by this point, but luckily track seven is there to save the day. An upbeat RnB duet with pop singer Jessica Jarrell, ‘Overboard’ brings head-bopping charisma by the bucket-load. To a bouncy backing of 808 beats, a piano section describable only as classic Alicia Keys, and acoustic guitars reminiscent of Usher’s early ballads, Bieber and Jarrell play out the drama of rekindling a burnt-out flame with effortless vocal performances that complement each other perfectly.
That ‘Overboard’s production relies so heavily on elements key to the early-noughties RnB sound makes it undoubtedly vintage. But that’s part of the magic: the nostalgia of My World 2.0’s only duet is never a distraction. It’s just enjoyable.
In the latter stages of the album, Bieber has one last high-energy hurrah with ‘Eenie Meenie’. In keeping with the dancefloor-driven aesthetic of My World 2.0’s first two tracks, the last single on the album cooks up a storm of Rhodes pianos, organ pads, electronic percussion sections and four-to-the-floor drum loops.
With an often restrained vocal performance, Bieber entrenches the setting of the production with lyrics pertaining to dancefloor romance (“Don’t leave me out here dancing alone”), fickle flings (“You seem like the type, to love ‘em and leave ‘em”) and the temptation to show off (“Let me show you what you’re missin’”).
Featuring the inimitable Sean Kingston, ‘Eenie Meenie’ astutely packs the motions and emotions of trying to pull on a night out into a tidy three-minute package. The only weird thing about that is the fact Bieber released the track a good three years before he hit Canada’s legal drinking age.
My World 2.0’s final two tracks, ‘Up’ and ‘That Should Be Me’, round off the record with helpings of hip hop chill and string-laden production. It isn’t a stunning finale by any means, but the two tunes manage to ease the album out with a finish that feels complete.
Nine years on, My World 2.0 should be seen not only as the bedrock on which Bieber built up to the pristine standard of his most recent material, but also as a record that stands on its own merit. For the music enthusiast no longer embarrassed to call themselves a Belieber, revisiting Bieber’s first record will undoubtedly be a rewarding experience.
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