Review: On ‘Shawn,’ Mendes is worth getting lost with

By Hugo Gerbich-Pais     11/19/24 10:57pm

Score: ★★★★

Top Track: “Heavy”

With the release of his self-titled album “Shawn,” Shawn Mendes proves that men with abs can sing folk. The album, Mendes’ fifth, represents a marked shift from his previous work and is well worth a listen. To sell his more mature sound, he’s grown out stubble this time, though the shirt has stayed off (thankfully). 

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In a quiet and confessional voice, Mendes opens the album in a fitting way, singing: “Sorry, gotta do it, gotta let you down /Cause I don’t really know who I am right now.” His disillusionment and emptiness is reflected in the song’s simplicity — plain acoustic guitar and honest lyrics which make clear how he feels. 

Mendes isn’t finding himself in this album. Instead he muses on the consequences of stepping away — from amorous entanglements and professional responsibilities — in order to find himself. He still doesn’t really know who he is, and this album is, in many ways, a celebration of this uncertainty. He interrogates his past, harnessing a folkier sound popularized by the likes of Noah Kahan, Hozier and Zach Bryan. 

This new sound is epitomized by the album’s second song, and the first single off the album: “Why Why Why.” The folksy acoustic guitar, simple drum beat and yearning twang in his voice gives the song an infectious quality. In typical Mendes fashion, the lyrics are vulnerable and direct, singing in the bridge “I thought he was about to be a father, shook me to the core, I’m still a kid.” The song climaxes with a rich harmony and big sound, as Mendes displays his vocal control to express his frustration at the fact that “everything goes round and round and round.”

In “Nobody Knows,” Mendes infuses his folkier sound with soul, as he tries to ascertain “where the love goes”. The result is lustful and elongated phrases sung over choir-like background vocals, coupled with beautiful acoustic guitar riffs which remind us of his new sound. Mendes’ musical exploration continues in “Isn’t That Enough.” The song is heavily influenced by country music, and I found that his nasal tone and the unignorable presence of the mandolin made the song a skip. 

“Heavy” is the album’s best song. In it, an exasperated Mendes declares that he’s finally rewady to listen and let himself be helped. The song features a strong downbeat, percussive guitar and shakers which keeps the song aurally interesting. In the chorus, Mendes reaches into his upper register effortlessly and the gospel choir backing vocals give it an ethereal quality. 

“Heart of Gold” is also exquisite, though it has a more conventional pop sound than the rest of the album. About the death of his childhood friend, Mendes’ delicate and breathy singing contrasts nicely with the fast-tempo acoustic guitar and drums at the song’s core. While the lyrics are sorrowful, the upbeat and catchy rhythm brings a joyfulness to the song, rendering it a fitting celebration of his friends’ life. 

Suffice to say that Mendes can play the acoustic guitar — it’s the star of the show in “The Mountain” and “Rollin’ Right Along.” In both songs, Mendes pairs acoustic guitar with conversational and understated singing. They’re very pleasant to listen to, but I didn’t find them particularly memorable, except for one lyric. In “The Mountain,” Mendes acknowledges the speculation around his sexuality that has followed him since he first posted on YouTube, telling us that “you can say I like girls or boys, whatever fits your mold.” However you interpret this line, it’s clear that Shawn Mendes doesn’t care — concluding the song with “I’ve never been better, so call it what you want.” 

The album concludes with a cover of Leonard Cohen’s “Hallelujah”; it’s a perfect song to highlight his voice. The song finishes with a series of “hallelujahs” sung over each other and elided together. To end the album in such a celestial way is fitting; as listeners, we are left confused but also at peace — much like Mendes himself. 

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