Album Review: Everything I Thought It Was by Justin Timberlake
On Justin Timberlake's first album in six years, the pop superstar returns with an album that attempts to mix his past eras into one sitting.
Singer-songwriter, dancer, actor, and record producer. Justin Timberlake’s biography on Wikipedia places him in these four categories. Although the free encyclopedia is the perfect place to inflate one’s exploits, we are subtracting this time: one is missing. But we’ll get there. Justin is forty-three years old and has been working since he was seven to do the math. Disney Channel with Britney and Xtina, then at fourteen, he joined *NSYNC. We know the rest: a few years later, the golden age of boy bands began, and the group became very famous and released four albums.
But then they grow up, the five split up, and Justin is the only one to embark on a solo career that can be defined as such: records, cinema, and world tours. Let’s look at the numbers: he has sold over 32 million albums worldwide, he has won 10 Grammys, and with his first album, Justified, he managed to do what today’s modern pop stars emerging from the group did: make him forget his past. Justin Timberlake is Justin Timberlake; he’s not that one singer from *NSYNC, but we’ll get to them. Then, other successful records, cinema (he starred in The Social Network, Amici di Bed, The Wheel of Wonders, Palmer, etc.), a famous wife (Jessica Biel, and, among other things, the two got married in Puglia, precisely in Borgo Egnazia, in 2012).
A perfect life? Yes, except that an entry needs to be added to the Wiki page we mentioned earlier: Justin is among the most hated celebs in America. Oh god, maybe we’re exaggerating. Let’s say, however, that he is outside the top 10 of those who come to Americans’ minds when talking about friendliness. Why? Many reasons revolve around music, private life, and the past as a pop star. He had no time to regain the applause of *NSYNC fans, who recently released a song together after twenty years of inactivity before the previews of Britney’s book made him fall back into criticism. Again.
Justin apologized repeatedly, but it was insufficient, as you can’t please everyone nowadays. But that’s not what we’re here for; it’s about the music and hope it’s a return to form. JT is back with album number six, Everything I Thought I Was, years after his failed Country experimentation (an album critics smashed to smithereens) with Man of the Woods. Accompanying his One Night Only shows, he released his first single almost two months ago with “Selfish,” an adult contemporary pop track co-produced with Louis Bell and Cirkut that relaunches his solo career about which the best thing that can be said is that it sounds cute. The production and the falsetto approach of the chorus are solid. Along with the release is a (meta)video directed by Bradley J. Calder in which he returns to singing, dancing, and acting.
In a 2023 interview with Variety, Timbaland, Justin Timberlake’s longtime collaborator and producer, reveals that the singer has returned to the core of his distinctive style. “It’s fun Justin—it’s like FutureSex/LoveSounds but nothing too heavy, just giving you what you’d expect from us,” Timbaland elaborates, emphasizing that the music is “not overthought, the lyrics are not so deep, it’s bob-your-head, dance-to-it music.” He underscores the importance of maintaining a sense of youthfulness and enjoyment in music, stating, “Music is a young sport, and you have to keep it fun—fun and young.”
Based on the audible elements of the album, this playful quality emanates directly from the artist’s pop style, infused with a touch of techno-funk to disco and R&B. The prominent presence of midi, coupled with a keen emphasis on beats and bass throughout each track, showcases diverse sounds that may appeal to audiences who like the era of Justified, Future/Sex, The 20/20 Experience, or even the Troll soundtracks. However, the album’s Achilles’ heel lies in its absence of cohesion or a well-defined trajectory, resulting in a collection of songs that, while individually engaging to some degree, may struggle to form a unified and purposeful whole.
The central theme of the album’s opener in “Memphis” is a cliché narrative about pursuing fame and fortune at the cost of personal happiness and love. Besides Timberlake hinting at his Memphis roots, the lyrics lack personal detail or depth. The verses read like a collection of generic motivational posters rather than a nuanced story about the pitfalls of celebrity. The song’s later verses introduce some hints of introspection, mentioning “losing his voice” and “trying to make heartbreak look pretty.” However, Danja's standard trap production style seems at odds with this attempted vulnerability, undermining the potential emotional impact.
While undeniably catchy, “No Angels” relies heavily on generic themes found throughout pop music. The emphasis on physical attraction, using dance as a metaphor for connection, and celebrating a hedonistic “no regrets” mindset are familiar tropes. The lyrics lack deeper meaning or unique perspectives, instead focusing on simple, universally relatable party sentiments. The production’s danceability complements the standard pop lyrical content, delivering a catchy but familiar sonic feel.
You can say the same for other disco-laced songs on there that are placed on the album with no rhyme or reason. Take the song “Imagination,” which sounds like a leftover Dua Lipa song, while “My Favorite Drug,” another wash-rinse-repeat generic dance track that overstays its welcome in length. However, “F**kin’ Up the Disco” does have a nice groove (sounds like it was taken from the Calvin Harris’ Funk Wav Bounces series), although the lyrics (with the unnecessary autotune) are incredibly corny (“Got my Gucci Crocs on right now/But wе can slide like sandals” and “You the password, I'ma hit reset”), and “Infinity Sex” does nothing to grab your attention as it lacks charisma, despite the ‘70s-inspired production before the beat switch-up. While these songs are serviceable, they don’t hold weight unless you’re a fan of the Trolls series. The same can be said with “Liar,” another copy-and-paste Afrobeats track featuring Fireboy DML that does nothing to stand out.
In “Drown,” the second single from his latest album, Justin Timberlake grapples with the agonizing experience of being abandoned by a once-cherished person. The chorus strikes rawly as Timberlake reflects on the overlooked signs and the pervasive sense of desertion. The repeated refrain, “You let me drown, you didn’t even try to save me,” echoes hauntingly as the song reaches its apex, emphasizing the profound impact of betrayal and the difficult path to closure, but the production sounds generic, or an off-brand Timbaland beat.
Speaking of Timbo the King, he’s contributed some songs alongside Angel Lopez and Federico Vindver. Besides “Infinity Sex,” “Technicolor” starts with a standard Trap&B interlude before it shifts gear into the third-minute mark, “Love & War” attempts to juxtapose the themes of conflict and passion, suggesting that love can persist even through strife, but the song struggles to deliver this message effectively, lacking the innovation or memorable hooks that often characterize Timberlake’s hits. “What Lovers Do” features a rhythmic foundation characteristic of Timbaland’s work, with syncopated beats and a focus on heavy bass lines that create an engaging groove. This nostalgia is not just in the sound but also in the song’s structure; it builds upon verses that set up a narrative followed by a catchy hook.
Plus, we got Kenyon Dixon into the mix, co-wrote ten of the album’s songs, and released one of the sleepers of 2023 with The R&B You Love and the supporting deluxe this year with Soul of the ‘70s. While the writing on “Memphis,” “Liar,” and “Drown” follow the typical mainstream formula, “Alone” makes for a decent piano ballad with Peter Lee Johnson assisting with the strings, and “Flame” appears to address the theme of a love that was promised to last forever but has since faded away as he suggests a sense of disbelief and heartache with nostalgia over a relationship that has ended despite earlier commitments to enduring love.
We got a true album gem with “Sanctified,” a Danja and Rob Knox-produced track that opens with an assertion of primal energy and uninhibited desire. Justin positions himself as someone driven by powerful instincts (“animal”), almost to the point of losing control. However, within this wildness, there’s a search for something more, hinted at by the contrast of his untamed nature against the saintly image in the following lines.
The song’s core theme is the transformative power of his love for this woman. He sees her as a near-divine figure, a source of salvation and absolution. The lyrics describe a ritualistic dynamic (“confess to your temple”), where he surrenders his flaws and seeks redemption through her. This love elevates him, washing away his past and turning him into a “new man.” The bridge and Tobe Nwigwe’s verse bring a spiritual dimension to the song.
Nwigwe expands on this, interweaving biblical imagery (angels, the Nile) and self-examination. The emphasis on unlearning and rebirth echoes Justin’s transformation. The song ends with a triumphant affirmation of change and the power of this all-consuming love. While it can be interpreted on a sensual level, the use of religious imagery pushes it beyond simple desire. The song explores the idea of love as a catalyst for deep personal transformation. This involves acknowledging one’s flaws, seeking forgiveness, and ultimately emerging changed by the experience, but admittedly, the Saturday Night Live version is better.
“Alone” reflects on the unpredictability of life and relationships, acknowledging that despite intentions, things do not always unfold as expected, “Play” sounds like a vintage JT Track that harkens back to the Future/Sex heyday, and we get another collaboration with *NSYNC (as he and JC Chasez take charge), “Paradise” showcases the group’s chemistry as the song uses celestial imagery and metaphors related to journeys and destinations to convey the depth and destiny of a romantic relationship as it celebrates the fulfillment of long-held dreams and the joy found in enduring love.
The album’s closer, “Conditions,” touches on themes of growth, unconditional love, self-acceptance, and self-reflection. The pre-chorus suggests that setbacks and challenges are necessary for personal development, using the metaphor of driving in reverse to move forward. It implies that enduring hardships can lead to a clearer understanding of what truly matters in life. Timberlake emphasizes the importance of self-love and perseverance through life’s ups and downs, suggesting that these experiences contribute to our overall personal evolution.
Justin Timberlake ambitiously tries to merge the sounds and styles of various eras into a single body of work. While this cross-generational approach is commendable in theory, the end result, unfortunately, lacks the cohesion and memorability needed to leave a lasting effect on his discography. The album jumps around sonically without a solid unifying vision, making it feel more like a collection of disparate tracks rather than a well-crafted artistic statement. The constant genre-hopping prevents any particular musical identity from taking hold, leaving the album without the standout songs that have defined much of Timberlake’s celebrated career.
That said, even an uneven Timberlake album still has its moments of quality. His undeniable talent and charisma shine through on several tracks that harken back to the polished R&B-infused pop that made him a superstar. When he stays in a groove and relies on his established strengths, the results can be pretty enjoyable, even if they never reach the heights of his best work. Overall, though, this album is a notable misstep in Timberlake’s discography. The lofty goal of bridging multiple eras is undercut by the scattershot execution, making for a more perplexing and forgettable listen than it needed to be.
Above Average (★★★☆☆)
Favorite Track(s): “Play,” “Sanctified,” “Paradise”