It was this past summer that Shawn Mendes posted sepia-toned footage of friends, guitars, smoke, and the sun to his Instagram. Catching the eyes of half a million in a matter of minutes, those snippets were all we needed to let us in on Mendes’ next project. Teasing verses of singles “Why Why Why” and “Isn’t That Enough”, up until the album announcement, the songs would feel like a diversion from Mendes’ previous works.
Like they were made in a forest or around a campfire, drunk off warm whiskey and good company, is Shawn; a compilation of little glimpses of life that would lead to a twelve-track introspective, folk-rock album. After a departure from the radio pop that was Wonder (2020), along with the devastating cancellation of his world tour, Mendes stepped back into the studio for the first time in four years, making music in studios in states all over the country. In announcing his album, he wrote, “Music really can be medicine. 2 years ago I felt like I had absolutely no idea who I was. A year ago I couldn’t step into a studio without falling into complete panic. So to be here right now with 12 beautiful finished songs feels like such a gift.”
Shawn begins with “Who I Am”, a brief introduction that starts with an intimate whisper count-in. Airy backing vocals and delicate fingerpicking strings carry the short song to lead single “Why Why Why”. Upon first listen, I couldn’t help but think of “Riptide” by Vance Joy, and how both songs are highly energetic and share a chanty chorus. The bridge reveals Mendes was supposedly about to be a father, in parallel with the line following “Sometimes I still cry out for my mother”. A potential callback to “Dream” off of Mendes’ last album is “That’s The Dream”, including broken promises, missed life events, and a lyrical confession. “I know that space is supposed to help / But I feel like a shadow of myself.”
A song that reminds me of an open mic night (in the best possible way) is track four, “Nobody Knows”. Full of references to Shakespeare and the Greek story of Icarus, this song asks: What happens to love when it’s not quite enough? “Nobody Knows” was also released as a single and performed live at the 2024 MTV VMAs, where it really had the chance to shine with a full live band.
“Isn’t That Enough” takes it back to the simple pleasures in life that stay the same, even when the person enjoying them changes. The song is filled with anecdotes of joy, like the sun, the month of June, and the company of friends. It feels sad next to “Heart Of Gold”, describing the one that got away: “You left too soon / It was out of your control, underneath your skin and bones.”
“Heavy” comes after, addressing the growth it takes and readiness to let someone bear the weight with you. “That’ll Be The Day” feels appropriately placed, coming after the one-that-got-away track. Typically, “…that’ll be the day” is a saying used in reference to dreams or hopeful situations, usually followed by the idea of something nice. This song counters that by flipping it on its head, ending with an unexpected turn in the last quartet of lyrics: “We can swallow our pride / We can swallow some wine.” “In Between” describes a relationship where it feels as if the people involved are on two separate pages. It feels like there is a lack of commitment or maybe too much; there is no room for grey areas, only finality. The lyrics ask, “Livin’ for the next time that we touch / Isn’t that enough?”, referencing the earlier track 5.
“The Mountain” addresses the claims of what the public thinks of Shawn, what others think of him, and how he conducts himself. How he feels he is viewed is different from how he views himself, looking forward to finding autonomy in who he truly is. As we near the end of the album, we are at “Rollin’ Right Along”. This song reminded me immediately of John Mayer’s “Stop This Train”, sonically with the light fingerpicking guitar. Being the last original song on Shawn, he concludes with a newfound self-awareness and hope, with Americana sonics the likes that Mumford and Sons and The Lumineers would be proud of. A stripped cover of Leonard Cohen’s “Hallelujah”, performed by Mendes is the album’s closer, as a way of ending the work on an emotional note. Shawn fully embraces his evolving self, allowing vulnerability and authenticity to flow into a folk-rock album that feels as though it uncovered his true voice along the way.
Keep up with Shawn Mendes: Website // Instagram // X // Spotify // Facebook
