Canadian singer-songwriter Shawn Mendes returned with his first album since “Wonder,” released four years ago, on Nov. 15. . Describing the new record as his “own personal medicine,” he loops fans, who he has named his “friends and family,” into his tales of “letting go” and “remembering who [he is].”

Mendes rose to fame in 2014, with the release of his debut song, “Life of the Party,” and album, “Handwritten.” From then, he became a household name, with hits “Stitches,” “Treat You Better,” and “Senorita” featuring Camila Cabello, taking the world by storm. 

Supported by an acoustic guitar, kick drums, moving melodies and his soft, yet fiercely emotional vocals, “Shawn” is a folk-pop, cohesive project. It feels like a collage of similarly-styled paintings using the same color palette in music form. Though it’s not an unrecognizable shift in style, his incorporations of other genres are enough to demonstrate he is ever changing as an artist and willing to take risks. 

It’s an easy listen. Though only 30 minutes, which oftentimes isn’t enough to complete an album’s story, this record managed to break – and then proceed to fix – me in just half an hour. 

For the sake of wanting to hear more from him, of course I would love it if there were more than 12 songs, but in the context of the full project, he proved prioritizing quality over quantity was the right move. All that he needed to be said was said. 

Collaborators Eddie Benjamin, Mike Sabath and Scott Harris bring the family component to this album, as his friends, collaborators and motivators. Mendes wasn’t alone in creating the album, as he realized he isn’t alone in life either.

The 26-year-old’s journey to self discovery is continuous and crafted into a philosophical music. Unlike his previous four albums, “Shawn” focuses on his own narrative of himself, rather than sharing his experience of life through the eyes of a young adult in love. 

He shines a spotlight on the love within himself, a development not only in his artistry, but also a growth in his mindset and outlook on life. He became the main character of his own story, an awaited turn of direction.

“One, two, three.”

A soft whisper on “Who I Am” opened the album. The song establishes itself as a heartfelt apology and explanation to the fans Mendes repeats he “let down” upon the cancellation of his Wonder the World Tour in 2022 due to mental health struggles. 

Lead single “Why Why Why,” released this summer, follows, leading into track three, “That’s the Dream,” one of my top songs. 

Though relatively upbeat, with an abundant strumming guitar, it has undertones of sadness, much like the rest of the album. It demonstrates how Mendes is able to weave multiple emotions into one song, using contrasting lyrics and instrumentals.

Tracks four through six, “Nobody Knows,” “Isn’t That Enough” and “Heart of Gold,” were also used to promote the album as its singles prior to its complete release, each sonically similar to one another, but thematically different.

“Nobody Knows” refers to the idea of love not fading with the conclusion of a relationship. Crooning, raspy vocals and an electric guitar dip Mendes’ toes into the grounds of country music. For fans of his older work, the song is reminiscent of “Ruin” from his second album, “Illuminate,” but with a newfound maturity and wisdom. 

Building off the country mood, the imagetic “Isn’t That Enough” follows, feeling like the perfect song to sit and sing along to in the warm glow of a campfire. 

The album takes a somber turn with “Heart of Gold,” a heartfelt dedication to Mendes’ childhood friend who passed away a few years back. In this song, he articulates his personal, delayed experience with grief, something many go through in life, feeling like an auditory hug to listeners who relate.

Upon initial listening to track seven, “Heavy,” I was taken aback. The crisp, acoustic guitar strummed through my airpods and the heavenly harmonies left my jaw dropped for the song’s entirety. The progression from the pre-chorus to the chorus is powerfully soulful, while simultaneously woeful, resembling the bittersweet process of moving on. 

“That’ll Be the Day,” though seemingly playful with the inclusion of a mandolin and a faster pace, it solemnly and poetically alludes to the concept of death. Mendes describes how loving a certain someone (thought to be ex-Camila Cabello) will come to an end only when her “face turns blue” and he’s “six feet underground.” This meta-metaphor makes the song one of the most lyrically advanced on the album and an automatic personal favorite. 

Following a heavier song, “In Between” lightens the mood with an appreciation for the little moments of love, drawing similarities to track five, “Isn’t That Enough,” a sample of it even being interpolated in the bridge. This choice is one that made me realize how truly corresponding the entire album is, reminding fans that the titular question is one that continuously crossed his mind. 

As a celebrity, Mendes has faced unjustified scrutiny since gaining popularity as a teenager. In “The Mountain,” he composedly addresses a wide range of rumors, assumptions, and judgments strangers have formed about him over the years, from his career and life to his relationships and sexuality. 

He sings “I’ve never been better/ so call it what you want,” not allowing all that is thrown at his name to affect him. 

Though it’s easy to get caught up in the melancholy of a heartbreak, “Rollin’ Right Along” is a catchy embracing of healing and moving on, instead of using yearning for love as a bandaid on his pain. He accepts every life experience in its entirety, whether positive or negative. 

“Shawn” concludes with a cover of “Hallelujah,” originally performed by Leonard Cohen, ending on an angelic note. Though not his own writing, it still feels like his, as he incorporates his own artistic flairs, including the notable use of a harmonium. 

His voice is a perfect match for the tone of the song. Mendes has sung “Hallelujah” before back in 2013, when he was just starting out. His new rendition can feel nostalgic to fans who have supported him since day one and like a full circle moment in his career. 

In the past, his music felt more catered to a targeted audience, but “Shawn” can be enjoyed by listeners of pop, folk, country, and rock alike, often feeling similar to Noah Kahan’s work and Taylor Swift’s “Folklore.” If you liked Mendes’ previous records, you’ll love this one.Even if you didn’t, chances are you still will love this one. 

Much like his preceding four albums, “Shawn” is driven by Mendes’ capability of introspection and his internal relationship with every raw, human emotion. His undeniable musical talent and knowledge, as a contributor through the entire creative process – from writing to production – is evident. 

This album is the product of authenticity and still manages to make me feel everything with him. 

Rating: 5/5