On Friday, the Weeknd released “Hurry Up Tomorrow” — his latest album and the conclusion to the musical trilogy that began with “After Hours” in 2020 and continued with “Dawn FM” in 2022.
But after the album’s release, it’s clear that the long-awaited “Hurry Up Tomorrow” keeps in line with the nature of his past work — perhaps to the record’s detriment. The album is unabashed in its expressions of infidelity, excessive drug use and depression.
The album has an exciting opening with “Wake Me Up,” featuring Justice, a French electronic music duo. The song’s immersive soundscape conjures up elements of 1970s disco that offsets the Weeknd’s heartbreaking lyrics, which convey a darkness that is both haunting and sensual.
All the songs on the album are buttressed by excellent production — something the Weeknd has become known for over the course of his career. When listened to chronologically, the album’s transitions blend seamlessly with one another and enhance the cinematic experience of the album. Even the 12-second interlude “I Can’t Fucking Sing” is immersive enough to offer the perfect transition to “São Paulo” — the album’s second single, featuring Brazilian superstar Anitta, that has taken the internet by storm. “São Paulo” is electrifying: Anitta’s inspired feature induces a drama that ensures the song is a fan-favorite. It’s the standout moment of the record.
The album’s star-studded lineup of artist features sets it apart from its two counterparts in the trilogy. “Reflections Laughing” features Travis Scott and Florence + The Machine, and is elevated by Travis Scott’s distorted rap segment. But the song isn’t perfect: An unneeded and outdated voicemail detracts from the record, and Florence + The Machine’s feature is less obvious to listeners.
Future and Giorgio Moroder also have feature credits, but neither are as memorable as Lana del Rey’s on the track “The Abyss.” Del Rey has a long history of collaboration with the Weeknd, most notably on the song “Stargirl Interlude” from his 2016 album “Starboy.” While not nearly as iconic as the “Stargirl Interlude,” “The Abyss” is atmospheric and places the pair’s powerful vocals on center stage.
Despite the distinctive features, the album begins to drag by its midpoint. With a bloated, nearly 90-minute runtime, the songs begin to meld into one another. This does not negate the Weeknd’s emotional, powerful vocals and the album’s technical dominance — each song is a musical triumph that plays to all of the Weeknd’s strengths. When listened to separately, they are formidable pieces of a story that he has been writing for years. But combined in one record and listened to successively, they are exhausting and repetitive.
“Baptized in Fear” and numerous songs in the latter half of the album are deeply forgettable. The line “oh, no, I’m in my feelings” in the song “Enjoy the Show” is representative of the album’s shortcoming — the Weeknd is always “in his feelings.” While that presents the opportunity to create deeply impactful art, the Weeknd has yet to find a way to sonically and lyrically diversify his discography. Even Future seems to flatline on the song, making his feature decidedly lackluster.
The album does have its strong points, though. Its lead single “Timeless” breaks up the monotony, but it’s not nearly as pleading as the lyrics of “Open Hearts,” which soars with Daft Punk-esque production. “Given Up On Me” mixes the Weeknd’s signature ballad style with the noticeable touches of Metro Boomin, one of the track’s producers.
The highlight of the album is “Hurry Up Tomorrow,” the album’s final and title track. The song is the ultimate combination of the Weeknd’s powerful vocals, an emotional piano background and vulnerable songwriting — a fitting ending to the Weeknd’s story. Lyrics like “I want heaven when I die / I want to change / I want the pain no more,” suggest the artist is heading towards a new chapter. Fittingly, after this album, Abel Tesfaye — the man better known as the Weeknd — plans to retire the stage name.
The dramatic themes explored within the record are compelling and the individual songs showcase what the Weeknd does best: telling stories. Each track in “Hurry Up Tomorrow” possesses the trademark style cultivated over the course of his career but fails to reinvent the wheel on which it spins.
But even though the album has been released, the story isn’t over. In May 2025, the artist’s film of the same name will attempt to translate the album’s content onto the big screen with the help of stars like Jenna Ortega and Barry Keoghan.
The Canadian singer-songwriter initially postponed the album’s release and a corresponding Los Angeles show “out of respect and concern” for the city’s residents, who spent much of January facing wildfires.
