Author: Rap Hooks

It was a quiet start to the summer in pop music, but it’s been a lot louder recently — with perhaps the most noise being generated by superstar Justin Bieber‘s release of a new album with just 10 hours’ notice.

Swag, Bieber’s first LP since 2021’s Justice, dropped at midnight on July 11 after having been announced earlier that afternoon. The 21-track set features another sonic left turn for The Bieb, eschewing the widescreen pop sound of his Justice LP in favor of a softer, more intimate alt-R&B, inspired by collaborators like Dijon, Mk.gee, Eddie Benjamin and Carter Lang. The album bows at No. 2 on the Billboard 200, with 163,000 first-week units (according to Luminate), while launching 16 tracks onto this week’s Billboard Hot 100, led by the No. 2-bowing focus track “Daisies.”

How should Bieber feel about the album’s debut performance? And does it show the surprise-release strategy to be a smart one for him? Billboard staffers discuss these questions and more below.

1. Bieber’s Swag debuts at No. 2 on the Billboard 200 with 163,000 first-week units (behind Jackboys & Travis Scott’s best-selling Jackboys 2 set), while its lead single “Daisies” bows at No. 2 on the Hot 100 (behind Alex Warren’s “Ordinary” in its seventh week on top), as 15 other tracks from the set also enter the chart. On a scale from 1-10, how good do you think Bieber and his team should be feeling about that first-week performance?

Katie Atkinson: Considering the whole world didn’t know the album existed until the day before — and there was no physical release, music videos or promotional appearances — I’m going to go with a 9. These are big week-one numbers based almost entirely on streaming, and it’s Bieber’s biggest streaming week ever. Not to mention, if Swag came out one week earlier, it would have been No. 1 (as Morgan Wallen’s I’m the Problem spent its eighth week atop the chart with 151,000 equivalent album units). It isn’t No. 1, but it’s a win.

Katie Bain: I’m sure there’s a twinge of disappointment as the reasonable expectation for a project of this magnitude is No. 1 debuts across the board. However, the competition is stiff right now, so I’m sure the general vibe is like, 8-ish, and the idea now is to pull the necessary levers to keep climbing. 

Stephen Daw: A hearty, solid 9. Had it been double No. 1 debuts and the dethroning of “Ordinary,” this would be a strong 10, but moving over 150,000 units and charting more than half the album’s songs on the Hot 100 is still a massive reason for celebration.

Kyle Denis: A solid 8. Considering this is a surprise release that had a limited number of formats and a sound that strayed from the chart-topping pop of Justice and Purpose, Swag pulled off a strong showing. Over 75% of the album landed on the Hot 100, and the LP gifted Bieber the biggest streaming week of his career. No. 1s are nice to have, yes, but it’s not like he’s starving for them on either the Hot 100 or Billboard 200. 

Andrew Unterberger: An 8 seems right. Considering how Bieber’s sonic detours haven’t always been warmly greeted, this getting such a resounding streaming debut and such a major response for its lead single have to be seen as wins — though undoubtedly, Bieb and his team would’ve loved to see at least one of those No. 2 bows get bumped up a spot.

2. Swag was given a largely surprise release, debuting just 10 hours after its existence was announced. Would you say the first-week response to the set has validated that release strategy, or do you think he would have done better with more build-up?

Katie Atkinson: I think the surprise release was effective, but could have been even more potent if his team had been working on a physical release behind the scenes (not unlike the Jackboys 2 rollout, which had the surprise element and a physical release) or if there had been a “Daisies” music video ready to roll at midnight. Of course, then there would have been way more opportunities for the surprise release to be spoiled. So if Bieber wanted the purest possible surprise, he got it this way… and his best streaming numbers yet.

Katie Bain: 2021’s Justice got the full court press, superstar artist red carpet album campaign. (Including, fwiw, this cover story I got to write about it.) That all worked about as well as the global team that made it happen hoped it might, with the album debuting at No. 1 on the Billboard 200.

That said, I think the sonic right turn of Swag and the general tone of Bieber’s public life and persona right now are simply more well-suited to a surprise drop, given that it’s effectively a mic drop move that cuts through the considerable noise. The sonic evolution of the album, paired with its release style, gives the sense that regardless of what the messaging has been about Bieber over the last 12 months or so, he’s doing things on his own terms. (Here I can’t help but think of Beyonce’s 2013 self-titled surprise drop, with that out of nowhere release strategy similarly underlining the new direction of that album.) And whether or not Swag could have done better with more build-up seems negligible, as it’s doing quite well. 

Stephen Daw: It’s a validation, I think. Take a look at his last album, 2021’s Justice, and you’ll see that the traditional release pattern worked — Bieber announced that album about a month prior to its release, and the LP earned a No. 1 debut on the Billboard 200 and 154,000 equivalent album units in its first week. While Swag didn’t nab that top spot, it did move almost 10,000 more units in its first week with almost no promotion beforehand; the only reason it was boxed out of the top slot of the Billboard 200 was because of another behemoth album bow. Clearly, the prospect of having a new Bieber project available to listen to within mere hours of its announcement paid off in spades. 

Kyle Denis: I think the sneak-attack strategy was the right move. Between the overt shift in sound, the built-in discourse provided by the Druski skits, and the general lack of an overarching visual aesthetic, too much lead time would have given fans too much opportunity to form conclusions and opinions about Swag before hearing it in its entirety. The only downside is that he couldn’t pull to release week armed with a litany of vinyl variants and physical listening formats. 

Andrew Unterberger: I think it works for this album, because it’s clearly not geared for top 40 dominance and it has a sort of spontaneous, of-the-moment feel to it — down to it including skits that address Bieber memes that were still peaking in public awareness the week of its release. There’ve been reports that he has a more traditionally pop album due in 2026, I’m confident that one will get the full advance push, and also probably be better off for it.

3. Much has been made of the sonic left-turn of the set, with Bieber adopting a more organic, alt-influenced approach to R&B (influenced by collaborators Dijon, Mk.gee, Carter Lang, Eddie Benjamin and more). Do you think the transition has been a successful one for Bieber?

Katie Atkinson: It’s a perfect fit, honestly. And even more so than the sound of those contemporaries, I keep hearing a much earlier inspiration of “quiet storm” R&B — albeit in a much rawer production. There are so many songs that I feel like are reaching for the sound of Michael Jackson’s “Human Nature” (which is a pretty high bar to reach for). His fans have always clamored for R&Bieber, and this feels like a natural sound for his adult evolution.

Katie Bain: Absolutely. To my ears, Swag is the most cohesive and fully formed (read: best) Bieber album yet. Nothing sounds put on or like made-in-a-lab pop music. His collaborators all feel extremely well-suited and bring their own flavor while also helping Bieber make that flavor his own. I feel like he’s been working towards this level of authentic artist statement for a while, and with the R&B meets AM radio sound on Swag, he claims it. 

Stephen Daw: By the numbers, by the audience’s reaction, by the reviews and by my own personal taste, I’d say yes, this is definitely a successful pivot for Justin. Sure, there were some songs that didn’t quite work as well for me on this album (I could’ve done without the interstitial skits), but the ones that did work felt like they were really excellent additions to his discography. It also didn’t feel forced — Justin has been steadily moving into his R&B lane since Changes, so watching him lean into this slightly more experimental R&B sound felt natural to the progression he’s been building over the last half-decade.

Kyle Denis: Yes. From Believe deep cuts to Journals, Changes and “Peaches” — which earned him his first R&B Grammy nod — R&B has always informed Bieber’s music. With Swag, this alternative-minded approach feels like a more natural fit than the faceless trap&B he played with on Changes. The Biebs’ voice has always shone best, to me, against analog instrumentation, and there’s plenty of dry, acoustic guitars for him to play around with on Swag. In fact, the album’s music is so solid that it only exposes how unnecessary, and generally unfunny, those Druski skits are. 

Andrew Unterberger: Sure. Shoulda given it a different title tho.

4. Does “Daisies” make sense to you as the focus track and best-performing song on the set? What percentage chance would you say it has of eventually dethroning “Ordinary” on the chart?

Katie Atkinson: Yes, and I think if he had put out a visual alongside “Daisies,” it would have had a real chance to replace “Ordinary” this week. If radio continues to grow for “Daisies” and we get a music video (bonus points if his baby Jack Blues appears in the video, as he’s been a presence in the promo photos), there’s a clear path for Bieber to score his ninth Hot 100 No. 1.

Katie Bain: I mean, not really. I think that’s why it works? It’s not an obvious single and it doesn’t sound like a whole like the rest of the album, but it does sound really different from a lot of what’s on the charts right now. I think that’s hooking people. In terms of it dethroning “Ordinary” — I don’t know, but I do think that that song, while nice, is a sound that’s been heard before, so maybe “Daisies” night overtake it on the power of freshness.   

Stephen Daw: I wholeheartedly agree with our colleague Lyndsey Havens that “Daisies” was the immediate standout on Swag. His voice sounds the best it has in years on this track, the accompanying guitar creates a familiar vibe and the track grooves into this natural crescendo that just feels good. Given the right radio push (which is already in the works) and a cool music video, I’d give “Daisies” a solid 60% chance at dethroning “Ordinary” in the next few weeks. 

Kyle Denis: If I think about it… yes, “Daisies” makes sense. (Though I can’t shake the feeling that songs like “Yukon,” “Go Baby” and “Way It Is” may pull ahead in the coming weeks.) I’d say “Daisies” probably has a 70-80% chance to dethrone “Ordinary,” it just needs to build up some motion on radio. 

Andrew Unterberger: There’s a number of songs off the set that may have worked, but “Daisies” certainly feels as appropriate as any of them. I don’t know if it has much chance of dethroning “Ordinary,” though — it’ll need a ton of radio support (and/or a majorly viral music video) for that, and I can’t say I see that coming for “Daisies” in the near future, if at all. I’d say 20%.

5. Between Bieber’s Swag and Tyler, the Creator’s Don’t Tap the Glass this week, we’ve seen a return to the surprise-release (or at least quasi-surprise-release) album format that had largely seemed to fall out of vogue with pop’s A-list in recent years. Do you see this as a potentially meaningful pivot moment in terms of industry strategy, or is it more just a scheduling fluke?

Katie Atkinson: As much as I professionally bristle at a surprise release (journalists like a heads-up), I understand an artist’s desire for a shorter ramp into a project – especially artists at the level of Justin and Tyler. Less speculation about what a project will sound like, fewer interviews. It puts the focus almost instantly on the music and not fans’ ideas of what the music could or should be.

Katie Bain: If I have to guess, two surprise drops happening so close together is probably a fluke. However, I do think two artists of this caliber both going this route right now suggests a broader fatigue with traditional album campaigns, perhaps on the part of both labels and the artists themselves. Not everyone can pull it off, but for artists with the fanbase and name recognition, it seems like an effective way to cut through the noise and sidestep the demands of promoting a new project in a pretty fractured media ecosystem. 

Stephen Daw: I think it’s safe to call this a pivot in industry strategy at this point, and Swag and Don’t Tap the Glass are just the latest examples. Kendrick Lamar’s GNX was a surprise release, and it’s been hovering in the upper echelons of the chart for the last 33 weeks. Even A-list albums that are traditionally announced and then released are seeing shorter and shorter promotional windows, and it keeps paying off for big artists wanting to capitalize on novelty in a news cycle that’s grown increasingly fast-paced over the last decade. Don’t be surprised when we start seeing more and more “world stop” moments from big-name artists in the coming years. 

Kyle Denis: I think it’s a meaningful pivot in terms of artists — at least those who can afford to — releasing off-cycle more often. New Music Fridays only get more crowded with each passing week, so dropping albums midweek à la Tyler or Jackboys allows artists to get an entire day’s worth of attention and conversation to themselves as opposed to fighting 1,000 acts for a sliver of the public’s eyes and ears. I think we’ll also continue to see surprise-esque releases for pop A-listers trying on notably different sounds, like Drake surprise-dropping his dance album (2022’s Honestly Nevermind) a few years back. 

Andrew Unterberger: I think it might be something we start to see more of from artists who don’t necessarily want to generate maximum advance hype for their new sets — either because they’ve been gone for a while and want a softer return (like Bieber) or because they actually haven’t been gone for long at all and don’t want to risk overexposure (like Tyler). I’ll be very curious to see what Beyoncé does for her expected upcoming Part III release; she’s always been a true bellwether for industry standards with these things, so if she returns with a sneak attack, that officially means we should all be on high alert for major releases falling from the sky until further notice.

After taking some time out of the spotlight, pop singer Sam Smith is ready to take center stage again with a new song.

On Tuesday (July 22), Smith shared that their new single “To Be Free” will be released on Thursday (July 24) at noon ET. Sharing the single art on their Instagram — which depicts a moody shot of the Hudson River in New York City — Smith revealed that they’ve been waiting for half a decade to share the track with their audience.

“I wrote this song with my dear friend Simon Aldred. It’s one vocal and guitar take from start to finish, made complete by the beautiful injection of the incredible choir we’ve been working with across this new project,” they wrote on the post. “To Be Free was written 5 years ago. It’s more than special to me.”

The announcement comes days after Smith previously teased fans with two snippets of the new song, featuring them singing a gentle R&B melody alongside a gospel choir. “Pray your heart be lighter/ Brave and free like mine,” they shared in a caption of one of the posts, previewing some of the song’s lyrics. “Floating like a feather/ Hope waits down the line.”

“To Be Free” will be Smith’s second single of 2025, after the singer shared their tender ballad “Love Is a Stillness” on Valentine’s Day. “This song is such a special song to me and because it’s Valentine’s Day I wanted to share this with you as a gift to say I love you,” they wrote to their fans at the time of the song’s release.

Check out Smith’s announcement for “To Be Free” below:

THE BIG STORY: 50 Cent hasn’t released an album since 2014. Maybe he’s just been too busy with litigation?

In his latest legal battle, the rapper’s G-Unit Books is accusing ex-girlfriend Shaniqua Tompkins of violating a “life rights” agreement by posting a series of “tell-all” Instagram videos. The lawsuit, filed last week, says the company paid Tompkins $80,000 in 2007 in return for “all rights to exploit her life story” — a deal they explicitly say was meant to protect the rapper’s reputation.

“Jackson purchased these rights to preserve them for use in future biographical or autobiographical projects, but also in part because he was concerned that Tompkins would attempt to monetize their history and his name,” the rapper’s lawyers wrote. “His concerns were ultimately proven correct.”

To say that 50 Cent is familiar with the court system would be something of an understatement.

The rapper is currently embroiled in litigation with the producers of a horror movie in which he plays the starring role, and his liquor brand just won court approval to seize the Connecticut home of a former exec who stole money from the company. Last year, he sued another ex-girlfriend for defamation over her abuse accusations; before that, he spent years battling with Rémy Martin over accusations that his cognac brand copied the company’s bottle design.

Perhaps the most notable? A 2022 lawsuit in which he accused a Miami medical spa of falsely suggesting that he’d had penis surgery. In his court papers, the rapper said the owner of the spa exploited an innocent photo he’d “graciously agreed” to take with her to imply that he was a client — and, more startlingly, that he had received penile enhancement.

All that action doesn’t come cheap: Last year, 50 Cent claimed he’d spent an astronomical $24 million in legal fees during his career. But he also didn’t express regret about doing so: “When they agitate me, I’ll send the f–king lawyers.”

Stay with Billboard for all the updates on 50 Cent’s latest case against Tompkins — and for any new litigation that comes next.

You’re reading The Legal Beat, a weekly newsletter about music law from Billboard Pro, offering you a one-stop cheat sheet of big new cases, important rulings and all the fun stuff in between. To get the newsletter in your inbox every Tuesday, go subscribe here.

Other top stories this week…

TERMINATION BATTLE – Universal Music Group (UMG) fired back at a lawsuit from Salt-N-Pepa that seeks to win back control of their masters through copyright law’s termination right, arguing that the case is legally invalid because the pioneering hip-hop duo was not actually a party to its 1986 record deal. The motion cited a ruling that rejected an earlier class action against UMG that sought to terminate copyrights en masse — and pointedly noted that Salt-N-Pepa’s lawyers worked on that same earlier case.

JANE’S LITIGATION – Members of Jane’s Addiction sued frontman Perry Farrell for allegedly attacking guitarist Dave Navarro onstage at a Boston concert last year, claiming the assault cost them millions by forcing the cancellation of the rest of their reunion tour and derailing plans for a new album. Hours later, Farrell filed his own suit, claiming he was actually the victim in the viral scuffle after years of “bullying” by his bandmates.

ANTITRUST ARRAIGNMENT – Tim Leiweke, the live entertainment mogul and former CEO of Oak View Group, surrendered to authorities and pleaded not guilty to a federal criminal antitrust charge over allegations of bid-rigging. Prosecutors say Leiweke conspired to rig the bidding for the construction and management of the Moody Center Arena, a $338 million, 19,000-seat facility in Austin.

GO EASY ON ME – Rapper Sean Kingston’s mother (Janice Turner) pleaded with a federal judge for a light prison sentence following the mom-son duo’s convictions for running a fraudulent scheme to effectively steal high-end cars, jewelry and other luxury goods. A pre-sentencing report says she should spend at least five years in prison, but her lawyers argued that such a lengthy term was “wholly unnecessary” for a woman who was a “pillar in her community.”

BUFFETT ESTATE FIGHT – Jimmy Buffett’s widow Jane argued in new court filings that her late husband’s longtime business manager (Rick Mozenter) is improperly using her inheritance to bankroll his legal battle for control of the singer-songwriter’s $275 million estate. The filing came amid ongoing litigation in which each side is trying to oust the other from their roles as co-trustees of the star’s hefty estate, which includes a stake in his successful island-themed hospitality company, Margaritaville.

LIZZO LAWSUIT – Lawyers for Lizzo’s company asked a judge to dismiss a harassment and discrimination lawsuit filed by former tour wardrobe designer Asha Daniels, calling it an “absurd” case that “makes a mockery of true victims.” The motion comes months after a judge dismissed Lizzo herself from the case, which is separate from a more high-profile case filed by three backup dancers over similar accusations.

ABUSE SETTLEMENT – Shia LaBeouf reached a confidential settlement to end a lawsuit filed by FKA Twigs that accused the actor of subjecting her to a “living nightmare” of abuse during their romantic relationship. The former couple’s powerhouse lawyers — Bryan Freedman for Twigs and Shawn Holley for LaBeouf — confirmed the agreement in a joint statement: “Committed to forging a constructive path forward, we have agreed to settle our case out of court.”

BIGGIE BIGGIE BIGGIE – The Notorious B.I.G.’s estate reached a settlement with Target, Nordstrom and other retailers that allegedly sold unauthorized canvas prints of the famed “King of New York” photo snapped just days before the legendary rapper’s death.

NO CHARGES – U.K. police announced that Irish rap group Kneecap would not be criminally charged for shouting “Free Palestine” and “‘F— Keir Starmer” during its politically-charged set at the Glastonbury Festival last month. Local police said there was “insufficient evidence to provide a realistic prospect of conviction for any offence.”

BEACH BRAWL – Backstreet Boys member Brian Littrell filed a lawsuit against a Florida sheriff’s office for allegedly refusing to take action against trespassers at his oceanfront home’s private beach. The case cited body camera footage in which a police officer allegedly told a trespasser that he “doesn’t agree with private beaches” and called Littrell’s police reports “lunacy.”

Justin Bieber returns to Billboard’s charts in a big way thanks to his new surprise album, Swag.

Released July 11 via JRC/ILH/Def Jam/Republic, the set debuts at No. 2 on the Billboard 200 (dated July 26) with 163,000 equivalent album units earned in the United States in its opening week, according to Luminate. Announced just 10 hours before its release, the album was only available in digital and streaming formats in its first week — meaning no physical editions were available, a typical limitation for surprise album drops.

Bieber also makes a major impact on the Billboard Hot 100, debuting 16 songs on the chart, let by “Daisies” at No. 2. Here’s a full breakdown:

Rank, Title:
No. 2, “Daisies”
No. 17, “Yukon”
No. 18, “Go Baby”
No. 21, “All I Can Take”
No. 33, “Way It Is,” with Gunna
No. 35, “Things You Do”
No. 37, “Walking Away”
No. 49, “Butterflies”
No. 56, “Devotion,” with Dijon
No. 57, “Sweet Spot,” with Sexyy Red
No. 59, “First Place”
No. 70, “Swag,” with Cash Cobain & Eddie Benjamin
No. 79, “Too Long”
No. 83, “Glory Voice Memo”
No. 84, “Dadz Love,” with Lil B
No. 86, “405”

The only Swag cuts to miss the Hot 100 are “Zuma House,” “Forgiveness” (by Marvin Winans) and the three skits with Druski: “Soulful,” “Therapy Session” and “Standing on Business” (non-music-focused tracks are generally ineligible to chart).

The 16 debuts up Bieber’s total to 121 career entries — the 10th-most of all time. He also helps Dijon, Eddie Benjamin and Lil B score their first career entries on the chart.

“Daisies” earns Bieber his 27th career Hot 100 top 10, and first new top 10 since “Ghost” in 2022. He ties Janet Jackson for the 10th-most top 10s in the chart’s nearly 67-year history. He also pushes his totals to 43 top 20 titles (tying the Beatles and Rihanna for the eighth-most) and 58 top 40 hits.