Recently debuting on the Billboard 200 albums chart, as well as topping charts in several other countries, the Weeknd’s Hurry Up Tomorrow seems to be one of the current favorite albums of listeners all around the world.
The more than 84-minute collection of 22 songs definitely deserves the attention that it has recently received. It marks the end of a trilogy of albums, following After Hours and Dawn FM, released in 2020 and 2022 respectively.
The release continues the Weeknd’s exploration of themes such as isolation, redemption, heartbreak and using drugs to escape. However, he approaches these topics with a unique sense of finality as he reflects upon his past and strives to become at peace with himself. This aligns with recent speculation that he will leave behind his persona as the Weeknd and start a new chapter in his career.
The collection has a strong beginning, marked by the songs “Wake Me Up” and “Cry for Me.” The former helps the album start tranquilly and builds for a large portion of the song, a structure that the Weeknd often employs. The latter has become one of the biggest hits of the album, featuring a strong and rhythmic combination of synths, bass and a trap beat. In the song, he longs for emotional validation as he sings, “I hope that you still cry for me like I cry for you.”
Another song that has gained popularity is “Timeless,” featuring hip-hop artist Playboi Carti. Although it is not the most significant song in terms of depth and storytelling, it contains a repetitive and catchy melody, as well as a satisfying instrumental. The song reflects on the Weeknd’s rise to fame with lyrics like, “Ever since I was a kid I been legit / It don’t matter what they say, I’m timeless.”
The seamless transitions between tracks is one of the more enjoyable aspects of the album, especially between “Baptized in Fear” and “Open Hearts,” going from a dark, ominous feel to a more heartfelt and energetic piece without being abrupt.
On the other hand, the album falters musically when the Weeknd tries to explore too far out of his musical scope. For example, during the song “São Paulo,” a collaboration with Brazilian artist Annita, the majority of the song is spent building to a weak beat drop and lacks variation between its different sections. The song feels out of place in the context of the album and could have remained a single.
Another problem that arises during the course of the album is the lack of depth in the music and narrative in the later songs as compared to the first few, which is likely a result of how drawn out the record is. This is evident in some of the lyrics from the last song, such as “I want heaven when I die, I wanna change.”
The album ends, however, with an emotional feel and a transition to R&B, a stark contrast from the electronic music that characterizes most of the songs. The title song of the album is meant to be an act of apology as he sings, “I hope my confession is enough.” It also creatively and effortlessly blends into his first ever song, “High For This,” if they are played consecutively, concluding the full circle theme of this album.
Overall, the album successfully symbolizes the conclusion of the Weeknd’s story while reinforcing the core lyrical and musical themes that have defined his career. Fans can look forward to a film adaptation of the album, set for release in May.