Grammy winning artist The Weeknd released his anticipated sixth studio album filled with 22 tracks mixed of R&B, pop and a sprinkle of hip-hop that is worth the listen.
Released on Jan. 31, “Hurry Up Tomorrow” concludes his second trilogy, preceded by the 2020 “After Hours” and 2022 “Dawn FM.” It is also known to be his last project as The Weeknd.
Abel Tesfaye, the person behind The Weeknd, stated in an interview with Variety that he may retire the character after he claimed he had mastered it. What was once a possibility now became reality when billboards in major cities appeared to say “The Weeknd Is Near” but read as “The End Is Near.”
The Weeknd debuted in 2011 with the mixtape “House of Balloons.” He released two more mixtapes “Thursday” and “Echoes of Silence” that same year with three bonus songs which created his first “Trilogy.” The dark, eerie tone to his toxic lyrics and haunted-esque instrumentals ultimately changed the sound for R&B music.
On the opening track of the new album “Wake Me Up,” The Weeknd sampled Giorgio Moroder’s “Scarface” theme while an orchestra played behind the singer’s vocals. The second half picks up a synth pop beat with similarities to Michael Jackson’s “Thriller.”
The Weeknd presented a diverse range of R&B throughout the album. “I Can’t Wait to Get There,” “Enjoy the Show,” “Niagara Falls” and “Opening Night” have the soft melodic flow, tapping into his older style. His ascending vocals on “Reflections Laughing,” “Baptized in Fear,” “Without a Warning” and “Red Terror” create an atmospheric experience for listeners.
Fans will be pleased to hear a few familiar tracks make it onto the album. “The Abyss,” “Take Me Back to LA” and “Big Sleep” were all teased by the vocalist on social media in 2020 and 2021 before they faced production changes.
Mike Dean handled most of the production along with Tesfaye and arguably topped the last two albums, which I didn’t think was possible to do. The seamless transitions and cohesiveness of the songs exceeded my expectations and reemphasized Tesfaye’s storytelling artistry. Metro Boomin worked on a few songs including “Given Up On Me” where the strong bass switched into a somber ballad.
Other transition tracks “I Can’t Fucking Sing” and “Until We’re Skin and Bones” had the sole purpose to glide listeners to the next song and keep them engulfed in the aesthetic.
The hip hop beats of “Cry For Me” and “Timeless” gave listeners a small break as well as the mainstream pop tunes “Give Me Mercy,” “Drive” and “Open Hearts.”
The album is already great on its own, but listening in order, starting on “After Hours,” makes it even better. It explains the progression of The Weeknd’s music career and his personal demons along the way. As the third and final installment, “Hurry Up Tomorrow” completes the complicated backstory of the conceptual trilogy.
“After Hours” references his past self-destructive lifestyle. The suffering of loneliness and heartbreak has Tesfaye’s character in a deep depression that leads to death. “Dawn FM” is based on the state of purgatory and trying to heal from his past in order to move on. In “Hurry Up Tomorrow,” he asks for forgiveness for his sins before entering the afterlife.
Amidst the heavy R&B sound, The Weeknd experimented with Brazilian funk on “São Paulo” that displayed an electro-pop club hit. Most of the song is in Portuguese that translates to overly sexual lyrics sung by Anitta.
Other features included Lana Del Rey, Future, Travis Scott, Justice, Florence & The Machine and Playboi Carti.
The profound outro and title track provided vulnerability from Tesfaye attempting to gain redemption for his wrongdoings. It’s such a fitting finale to escape as The Weeknd and form a new beginning as himself.
Overall, the theme of the album left a mix of emotions as Tesfaye closes the chapter to his legendary persona and leaves behind a masterful discography.
“Hurry Up Tomorrow” is available on Spotify, Apple Music, YouTube, iHeartRadio and Pandora. A corresponding film will be released in theaters on May 16.
Rebecca Gonzalez can be reached at orionmanagingeditor@gmail.com.
