Rating: 6/10
After taking a long break from music, Shawn Mendes made a comeback with his fifth studio album “Shawn” on Nov. 15, marking a shift from his typical pop sound to a raw, acoustic folk sound.
The 12 tracks on “Shawn” span just 30 minutes, offering a concise listening experience. While the brevity ensures the album maintains an intimate tone, it also limits the opportunity for any track to leave a lasting impact or evolve into something that truly stands out.
The songs are honest and deeply personal, reflecting on themes like self-discovery, uncertainty and mental health. However, the raw simplicity sometimes works against the album, as the lyrics often feel overly straightforward, lacking depth.
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In an interview with John Mayer — singer-songwriter, guitarist and mentor to Mendes — Mendes opened up about the personal significance behind “Shawn.”
“I never thought that the most stripped-back art I’ve made would return the most to me,” Mendes said. “It’s already given me more than any of my albums by so much.”
Mendes’ opening track “Who I Am” begins with soft acoustic guitar and gentle vocals. The opening lines establish a conversational tone, allowing Mendes’ private thoughts to take center stage.
“And it broke my heart when I cancelled tour/ Had my soul and my head going back and forth (oh),” Mendes sings, reflecting on the emotional toll of canceling his 2022 Wonder tour.
The reflection continues in the album’s second track, “Why Why Why,” which was released alongside “Isn’t That Enough,” the album’s fifth track, as lead singles on Aug. 8.
With its upbeat tempo and folk inspired melodies, “Why Why Why” brings an energetic yet thoughtful tone to the album, referencing the cancelation of Mendes’ 2022 tour yet again.
“I stepped off the stage with nothin’ left/ All the lights were f—in’ with my head/ But here I am, singin’ songs again,” Mendes sings as he recounts his struggles with burnout.
The song’s lively rhythm creates a striking contrast to its heavy subject, transforming “Why Why Why” into a vulnerable piece and an objectively good single.
The third and fourth tracks, “That’s The Dream” and “Nobody Knows,” continue the album’s acoustic style, exploring themes of love and longing. However, instead of being hopeful or romantic, the tone is more melancholic as Mendes reflects on the challenges of past relationships.
Musically, while both tracks are pleasing to the ear, they lack distinctive qualities to make them truly memorable. The emotional depth is clear, yet the simplicity of the lyrics makes the songs feel more like filler.
“Isn’t That Enough” and “Heavy,” the fifth and seventh tracks on the album, delve into Mendes’ struggles with mental health, particularly anxiety.
“Isn’t That Enough” touches on the physical manifestations of dealing with anxiety, while “Heavy” reflects on Mendes’ fatigue from carrying mental burdens alone.
Both songs offer a more relatable listening experience, while the incorporation of soft folk instrumentation allows listeners to connect with Mendes’ journey in a way that feels deeply personal yet universally relatable.
“Heart of Gold,” the sixth track on “Shawn,” is arguably the most personal song on the album. Written about Mendes’ childhood friend Deijomi, who died from a drug overdose in 2018, Mendes revealed during a clubhouse session how the two had drifted apart as he became more immersed in his music career.
Mendes’ willingness to share a deeply personal story about grief makes it feel particularly poignant. The lyrics convey the vulnerability and regret Mendes felt about the distance that grew between them, which speaks to the universal experience of losing someone close.
The eighth and ninth tracks on “Shawn” bring a more wistful energy while still exploring themes of love. However, they still lack replay value.
“That’ll Be The Day” centers around a yearning for a past relationship that Mendes felt a strong connection toward. The hums and gentle strums of the guitar harmonize beautifully, adding a layer of warmth and intimacy to the track.
“In Between” touches on Mendes’ desire for a serious relationship with the potential for marriage. The track is less about idealization and more about the confusion that can arise in relationships. It picks up the pace a little compared to earlier songs, but not enough to make an impact.
The 10th and 11th tracks on the album, “The Mountain” and “Rollin’ Right Along,” serve as a powerful near-end of “Shawn,” focusing on Mendes’ journey toward self-acceptance.
“The Mountain” is Mendes’ response to public scrutiny regarding rumors about his sexuality, with the singer confidently stating that he is no longer affected by the gossip and is at peace with who he is. The song’s message of resilience has the potential to be a powerful anthem for anyone struggling with their sexuality, but it ultimately misses the mark.
“Rollin’ Right Along” embraces themes of moving forward and letting go of past emotional baggage. The track has a carefree, upbeat vibe that makes it feel like the perfect song to sing along to on a road trip. The twangy guitar adds a country element, making it a song that is both easy to enjoy and relatable for anyone looking to embrace the journey ahead.
The album concludes with Mendes’ cover of “Hallelujah,” which adds a deeply emotional and beautiful touch to the final track. This rendition of Leonard Cohen’s song feels fresh yet respectful of the original, offering a moving conclusion to the album.
While none of the tracks significantly stand out, Mendes’ vocal performance shines throughout the album, showcasing his impressive range and vulnerability. Paired with the soft acoustics, the album’s sound is undeniably pretty, even if the songwriting occasionally falls flat.
