Tate McRae’s new album “So Close To What” is full of sexy, thrilling tracks that push McRae into a new echelon of pop stardom. But despite being McRae’s most mature record yet, the album’s unabashed exploration of desire lacks any concrete emotional weight.
The road to release was not a smooth one for the Canadian singer-songwriter. In January, just before the album’s planned release date, a significant portion of the record was leaked. This spurred her to return to the studio and record three new songs before announcing the new tracklist on Instagram.
“Obviously, that makes you look at the project differently,” she said in an interview with podcast host Jake Shane at a Spotify listening party. “I was just so devastated, because I’m like ‘there’s nothing I can do about this.’ The whole project is online.”
The leak wasn’t the only part of the album rollout that took the internet by storm. “It’s ok I’m ok,” the record’s lead single, was not only a trending TikTok sound, but also took the top spot on Billboard’s “Hot Dance/Pop Songs” chart. It’s for good reason, too. Starting off strong with a fast-paced beat and ending on the catchy refrain “I don’t want him anyway, girl, take him,” listeners were ushered into a coming-of-age for McRae. The album’s next single “2 hands” upped the ante as McRae instructs her lover on the terms of their fling. The song opens up with the incredibly satisfying pitched-up lines “I want your two hands / Don’t ever let me go / I want your two hands / Two hands on me,” capturing a distinct 2000s-pop sound.
“Sports car” is the highlight of the three pre-released singles as it brings the album’s tension to a fever pitch. “Oh my guy,” McRae sings in the self-assured manner central to the album, “You don’t wanna waste my time.” The song’s music video features McRae trying on a number of personas, but she has nothing to hide. The album is rife with McRae’s lamentations on the state of modern romance, but more importantly, what it means to be unafraid and unashamed.
The 45-minute-long album is infused with a commanding nature. “Miss possessive” is feminine and bold. Opening with a voice note from superstar Sydney Sweeney, the song is a cautionary tale. While the 21st century has made catfights an unpopular trope, McRae is unafraid to invoke it in this bold opener.
The drama continues in “Revolving door,” which sees McRae bemoaning a protracted toxic relationship. The song is propelled by a dynamic bass that culminates in a bridge pervaded by desperation. Lyrics like “Life feels worse, but good with you in it / Supposed to be on stage, but fuck it, I need a minute” essentialize the push and pull of lust and love that takes a life of its own in the album.
“bloodonmyhands,” featuring Flo Milli, is another dance track that celebrates the sheer talent of rebounding after a messy breakup. Flo Milli’s verse on the song is high-energy and necessary in an album threatening to buckle under the weight of its repetitiveness, both in sound and content.
The album’s other collaboration sees McRae singing alongside her boyfriend The Kid LAROI on “I know love.” The pair’s relationship certainly adds depth and charm to the track. Like Flo Milli’s guest appearance, LAROI’s verse is a blessed break from McRae’s solo songs. It’s not that songs like “Means I care” and “Signs” are not enjoyable, but the album simply loses strength in McRae’s attempt to curate a hyper specific aesthetic, losing some of the album’s intimacy.
The album’s high points are the songs that diverge from its major themes. “Purple lace bra” opens with a sweeping instrumental that transitions listeners to an angry McRae, who vehemently objects to being reduced only to her sexuality. “Like I do” is another album standout, acknowledging the pitfalls of friendships that are less than genuine. The song is low-key but fast-paced, subversively capturing an element that is true to McRae’s musical persona: She is not afraid to be who she is and, more importantly, to call things as she sees them.
The songs “Dear god” and “No I’m not in love” blend — and even disappear — into the record’s body. “Nostalgia” is the album’s most personal track, chock-full of reflections on McRae’s family history, self-sabotage and fear. Lyrics like “I manifested you would leave / So the day you did, I had you beat / Three steps ahead of everythin’” capture a softness beneath the dominating tone of self-possession. The album would have benefited if this element was integrated throughout the record, rather than being tacked on at the end. “Greenlight” is the closest the album comes to a breakup song, while “Siren sounds (bonus)” is a sonic experience that, while not fully original, is captivating in its passion.
“So Close to What” marks a definitive change in the trajectory of McRae’s career. The young girl who started posting original songs on YouTube is now on the clear path to becoming a household name with this album. McRae herself is a dynamic performer, gaining a cult following obsessed with her high-energy dance interludes.
The album’s marketing is a masterpiece in itself. McRae has emerged as an “it-girl,” attending pilates classes with heartthrob Glen Powell, dating a fellow popstar and rocking the latest fashions. But is this enough to make an album worth listening to?
In short, yes: “So Close To What” may be lacking in the depth necessary to render it a memorable release of 2025, but it certainly panders to what the culture has deemed trendy in recent years. Tate McRae has forged a place for herself in the music industry, and with the confidence she flexes in this record, it can only get better from here.
