Hurry Up Tomorrow marks Abel Tesfaye’s sixth studio album and final under The Weeknd name. Following his beloved, seminal albums After Hours and Dawn FM, Tomorrow serves as the ending to this new trilogy along with the Weeknd character as a whole.
Tesfaye has been very vocal about this album’s recording process and various changes over the past couple years and why it will inevitably be his last through this Weeknd persona.
He noted losing his voice in September of 2022 during his show at SoFi Stadium as a major inspiration and drawing point for this new record and final chapter, acknowledging how this crushing moment caused him to break down and reconsider his work altogether.
Though, in true Weeknd fashion, Tesfaye decided to turn his trauma into art one last time for his passionate fanbase and ever-growing legacy. Hurry Up Tomorrow is a daring, sprawling and immense body of work that truly feels like the credits are rolling for the beloved popstar.
With 22 tracks and nearly an hour and a half in length, it’s incredible how engaging and fulfilling this record is from beginning to end. While many artists today bulk up their track lists with filler songs only meant for extra streams, Tesfaye has crafted the music equivalent to a cinematic experience, something I haven’t heard from an album since Pink Floyd’s The Wall.
Each track and moment is a necessary detour in the album’s personal and sonic vision. Take the opener “Wake Me Up” for example—this 5-minute rollercoaster ride is drenched in a dramatic tone and includes one of Tesfaye’s most impressive vocal performances, only to completely shift into this ‘80s tinged dancehall beat reminiscent of Michael Jackson’s Thriller. Nothing bloated or unnecessary about that.
Other undeniable elements of the album are the transitions between songs. Reminiscent of classics like Prince’s Purple Rain or Daft Punk’s Discovery, these transitions help the album’s flow while also adding to that feeling of a film in audio form.
The second track “Cry for Me” makes great use of this gapless aesthetic while also being one of the album’s most hard-hitting and ferocious bangers. Think back to The Weeknd’s solemn EP My Dear Melancholy, but add even more abrasive percussion and ignited vocal runs—that’s this track in a nutshell.
The album only continues to grow more chaotic from here, with an intriguing interlude most likely taking aim at the SoFi incident “I Can’t F****** Sing” leading right into the Brazilian funk inspired barnburner “São Paulo.”
We eventually slow down on what might be one of Tesfaye’s most personal and revealing tracks to date, “Baptized in Fear.” Tesfaye seems to be at a mental and emotional low-point on this track, alluding to nearly drowning in his bathtub and more thoughts of self-doubt and self-harm.
Yet, this track is also seen as a glimmer of hope for The Weeknd as a constant refrain calls out, “voices will tell me that I should carry on,” until these building, driving synths clash into each other making for the perfect transition into the closest song this record has to a “Blinding Lights,” “Open Hearts.”
Produced by the incomparable Max Martin, “Open Hearts” feels like true catharsis and healing in the form of a pop song. It almost sounds like this song has existed for years with just how classic yet invigorating both the synth melody and Tesfaye’s vocals are. Truly a hit if I’ve ever heard one.
“Opening Night” is another nice and quaint interlude moment with some inviting electronic production, which seamlessly goes into “Reflections Laughing” that makes great use of a woozy, pitched-down Travis Scott feature along with a little help from Florence + the Machine.
At this point in the record is where Tesfaye gets much more down-tempo and reflective in his songwriting. While “Reflections” can see The Weeknd slowly falling back into his old ways of despondent, numbing highs, following tracks like “Enjoy the Show” and “Given Up on Me” see Tesfaye finally full-on acknowledge that this lifestyle has only ever hurt him and gotten in the way of true peace, tranquility and starting fresh.
Both of these tracks are also home to some angelic soul samples and guest vocals from Future, further adding to these feelings of realization, self-worth and moving forward. It feels weird to say that about a Future feature of all people, but he’s truly in his feelings here too and I have to respect it.
“I Can’t Wait to Get There” is definitely a step in the right direction, as Tesfaye looks back on his accomplishments in the industry while also looking forward to his many future ventures and endeavors over another soul and gospel-like beat.
“Timeless” with Playboi Carti further illustrates these feelings of success with tenacity over this slick Pharrell beat. While this single could act as a bit of a halfway point commercial break, it’s still another staple in The Weeknd’s growing catalog of material bangers.
“Niagara Falls” brings in some fantastic drums and chipmunk-soul sample chops while Tesfaye continues to lament and ponder over the past, leading perfectly into one of the record’s most important cuts, “Take Me Back to LA.”
This track sees Tesfaye finally get a needed moment of clarity, levity and nostalgia over these booming drums and a shimmering ‘80s tone. Calling back to the After Hours cut “Escape from LA,” this song shows that Tesfaye is finally able to shed this Weeknd persona, wanting to return to when his life wasn’t consumed by the turmoil of fame, drugs and the obtuse Hollywood lifestyle. Things are finally starting to look up for the popstar.
The next track “Big Sleep” tends to solidify these feelings and the certain demise The Weeknd has built for himself. These rather dark and unsettling synth undertones conducted by the one and only Giorgio Moroder make this death sequence all the more cinematic and surprising, confirming the end of The Weeknd, yet Abel’s new life is just beginning.
“Give Me Mercy” and “Drive” serve as great reintroductions to the man we’ve known for nearly 15 years now, just with a much more joyful and rapturous tone. Yet, Tesfaye isn’t done fighting his own demons and tribulations.
Fan favorite “The Abyss” consumes the listener with captivating piano passages and Tesfaye’s soft yet commanding voice, discussing his hopes and fears for the future. The track also has a stunning and welcome Lana Del Rey feature as she reassures Tesfaye of his concerns.
For many fans this was a beautiful moment between the two musicians, as both saw success around the same time and have had a storied history of collaborations since. You couldn’t have asked for a better guest on such a special album.
“Red Terror” acts as a tribute to Tesfaye’s mother as well as an apology for causing her so much stress and worry over the years due to his chaotic and obscene lifestyle. This song chronicles her journey from Ethiopia to Canada, helping Tesfaye live a much better and safer life in the process. Backed by an invigorating, immense wall of electronic noise choreographed by Oneohtrix Point Never, Tesfaye gives her a needed and touching thank you.
The penultimate track “Without a Warning” serves as a gut-punch and emotional force as Tesfaye profusely thanks his fans for his continued success, happiness and well-being, even within his darkest hours. The song’s coda is impactful enough to bring tears to your eyes with sweeping, choir-like vocals and anthemic crowd noise. But if that wasn’t enough, the final track has you covered.
Reminiscent of the great ‘80s power ballads like “Purple Rain” or “Human Nature,” “Hurry Up Tomorrow” is quite possibly the best final page to this story any Weeknd fan could’ve asked for. Angelic pianos and Tesfaye’s signature falsetto range caps off this era of his career with such emotion and grandeur, it’s truly unlike anything I’ve heard from any other artist of his status or influence in quite a long time.
It doesn’t end there, though.
In true Weeknd fashion, no second of this record is wasted, as the final note of “Hurry Up Tomorrow” perfectly transitions back into Tesfaye’s first song “High for This” from his classic, first ever mixtape released, House of Balloons.
This could mean countless things. Is it just a cool easter egg for fans? Is this “Weeknd” character just a never-ending cycle? Is he really done making music? Whatever it means, I know Abel Tesfaye just crafted one of the finest farewell records I’ve ever heard. A true magnum opus if there ever was one.
Especially for it being as long as it is, I am astounded by the sheer attention to detail, specific sequencing, cinematic production and catchy hooks I always knew this guy was capable of. After closing out one of the greatest catalogs in modern pop history, I’m looking forward to seeing what the future has in store for Mr. Abel Tesfaye. The Weeknd may be over, but tomorrow is just beginning.
My rating: 9.6/10
Listen: The Weeknd – Open Hearts MV
Watch: Hurry Up Tomorrow (Official Trailer)
Read: The Weeknd Gives New Details on Hurry Up Tomorrow, Ending His Career
