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Abel Tesfaye, famously known as The Weeknd, released his sixth studio album, Hurry Up Tomorrow, which wonderfully details his difficult journey as an artist. This synth-pop-filled project marks the end of an era, most notably The Weeknd’s alter ego. The Weeknd told Variety, “You have a persona, but then you have the competition of it all. It becomes this rat race: more accolades, more success, more shows, more albums, more awards and more No. 1s. It never ends until you end it.” By authentically expressing his desire to let go of his “The Weeknd” persona, Tesfaye delivers his most vulnerable and innovative album to date.

Throughout Hurry Up Tomorrow, The Weeknd impressively revisits all of his older album eras, adopting each theme and sound from previous projects. For example, it starts with “Wake Me Up” featuring Justice, which has an electrifying 80s pop vibe that feels like it could’ve easily been a track on After Hours. The nostalgia didn’t stop there, though; The Weeknd seemingly goes back to his “House of Balloons” roots with the melancholic track “Baptized In Fear.” On that track, The Weeknd recalls a near-death experience in a bathtub that is symbolic of being consumed with fear and guilt over his past mistakes.
Vulnerability continues to be a common theme on a majority of tracks as The Weeknd melodically shares his experience of being in a relationship as an entertainer. The short song “Opening Night” explores his struggles with substance abuse, trust in dating, and being a performer. Even though the production on this track is insane, with a euphoric, dreamy sound, the lyrics are quite sad. On it, he sings, “When I see you chronically online/ Why bring this up right now?/ You know it’s my opening night/ Circulation gone, shaking on the floor/ Steroids in my lungs, fighting off the mud.” Tesfaye makes it clear that, unfortunately, despite what he’s going through, the show must go on.

Aside from love issues, The Weeknd confronts his fight with substance addiction on “Reflections Laughing” featuring Florence and The Machine and Travis Scott. On that track, he can no longer handle the surveillance and pressure that come with fame as he sings, “Reflections lookin’ back at me/ They’re smilin’, they’re smilin’/ I’m trapped inside a gilded cage.” The audio production and guitar melody are also top-tier, giving this song a cinematic flair.
Additionally, the beat transitions and use of samples are incredibly smooth, especially on “Given Up On Me.” The track is essentially two songs, starting as a trap soul instrumental and ending as a piano ballad. It also majestically samples “Wild Is the Wind” by Nina Simone and “On the Way” by Chicago Gangsters.

The search for happiness in the lyrical content starts to seep in as the songs go on, with “Give Me Mercy” being a joyful standout with a gospel vibe. On this track, Tesfaye sings, “Hoping that it’s worth all the bleeding/ When I’m defeated/ Give me mercy like you do and forgive me like you do/ Hope that you see me, when I’m depleted.” Overall, the track is powerful as it signals his hope for compassion and forgiveness.
Not only does The Weeknd seek grace, but he embraces the start of his sober healing journey as the album comes to a close. On the outro of “Without A Warning,” he calls out, “How do I know tomorrow’s coming?/ Especially when I always kiss the sky/ Especially when I always chase the high.” The song then ends with a round of applause—it’s very theatrical. He also cries out for inner peace and change on the last track “Hurry Up Tomorrow,” where he sings, “And I hope that I find what I’m looking for/ I hope someone’s watching from up above/ I’m done with the lies, I’m done with the loss/ I hope my confession is enough.” It’s the perfect finale, as he finally gets rid of his alter ego and starts a new life.

With 22 tracks, Tesfaye successfully gives listeners the dark R&B sound they were craving and wraps up the gimmicks. Hurry Up Tomorrow is a soul-stirring introspection that explores The Weeknd’s emotional turmoil in the music industry and his need for redemption. Ultimately, the raw feelings, haunting vocals, and amazing audio quality are what make this album a chaotic masterpiece.
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Kayla Britton-Dockery is an entertainment reporter who covers everything from music and film to television. She mixes pop culture commentary with deep analysis, always aiming to get her audience thinking a little harder about what they’re watching and listening to. Whether it’s a hot take, a review, or a breakdown of the latest release, she brings a sharp, analytical perspective to every piece. She also holds a B.A. in Media Communication from Saint Xavier University.




