Review: “Hurry Up Tomorrow” is a mixed bag but mostly satisfying
Score: ★★★
Key Track: “Open Hearts”
If “After Hours” represents death and “Dawn FM” represents purgatory, “Hurry Up Tomorrow” must signify resurrection or rebirth. It's unfortunate, then, that The Weeknd’s (born Abel Tesfaye) “rebirth” feels like a lesser version of his previous artistic selves.
The album feels larger than life but lacks the focus of Tesfaye’s earlier projects. “Hurry Up Tomorrow” feels like the end of an era, which might be good for an artist who seems to be running out of ideas.
“Hurry Up Tomorrow” seems like Tesfaye’s attempt to end his time as The Weeknd with a bang. The album spans 84 minutes, and many tracks embrace the maximalist ethos of its length.
The project opens with “Wake Me Up,” which features ominous electronic instrumentation that transitions into groovy synthpop, evoking the feeling of Tesfaye dancing out of the gates of Hell.
This seamlessly transitions into “Cry For Me,” another synthpop banger that incorporates Tesfaye’s melodic R&B vocals, bursting Brazilian bass drops and trap instrumentation. This track is effortlessly catchy and features the dark longing that Tesfaye is known for, likely becoming the album’s most radio-friendly song.
Following this is the first of two brief interludes, which, while not adding much to the project, make for smooth transitions. “Sao Paulo” follows, with its Brazilian funk style that, while initially fun, quickly grows tiresome. It brings to mind Kanye West’s “Paperwork” off his 2024 misfire “Vultures,” though Tesfaye’s track is superior.
Tesfaye regains his footing with “Baptized in Fear,” a song reminiscent of “Beauty Behind the Madness” or “Starboy,” featuring passionate and atmospheric dark R&B. After three minutes, a groovy synth line emerges, providing a smooth transition into the album’s best track, “Open Hearts.” This song incorporates elements of 70s club music, Daft Punk and trance, yet remains quintessentially Tesfaye’s.
“Open Hearts” is a standout, showcasing Tesfaye’s ability to create catchy, textured and powerful music at the height of his musical powers. It’s the only track that can join the conversation of best songs from this new Weeknd trilogy alongside hits like “Blinding Lights,” “After Hours” and “Take My Breath.”
Unfortunately, no other song on the album reaches the brilliance of “Open Hearts,” and the second half pales in comparison to the first. “I Can’t Wait To Get There” stands out with its chilled mix of soul, funk and synth elements, reminiscent of a Thundercat production rather than a typical Weeknd track.
“Niagara Falls” and “Take Me Back to LA” are other highlights. “Niagara Falls” features Tesfaye’s soulful crooning over trap hi-hats and synths, while “Take Me Back to LA” evokes the 80s aesthetic of “Less Than Zero” and “In Your Eyes.” Although not as strong as those previous tracks, it remains enjoyable.
The rest of the back half, however, is generally forgettable and retreads ground Tesfaye has traversed much more successfully in the past.
“The Abyss” opens the album’s final leg with an epic mix of trap production, classical instrumentation and ghostly vocals from Lana Del Rey. The penultimate track, “Without a Warning,” continues this ominous mix, setting the stage for “Hurry Up Tomorrow,” possibly the final track of this iteration of The Weeknd. This closing song plays like a confessional, with Tesfaye grappling with guilt, family trauma and redemption in one of his most introspective and honest tracks. It feels like The Weeknd finally removes his mask to reveal Tesfaye beneath.
At 84 minutes and 22 songs, the album is a slog to get through. If the project were as focused as Tesfaye’s previous two offerings, those 84 minutes would fly by. However, the overwhelming feeling after listening to “Hurry Up Tomorrow” is a longing for the mastery of synthpop-R&B found in “After Hours”.
While “Hurry Up Tomorrow” has its moments of brilliance, it ultimately falls short of the bar set by The Weeknd’s earlier works. This project feels like a transitional phase, marking the end of an era and perhaps the beginning of a new artistic direction for Tesfaye. Despite its inconsistencies, the album showcases his willingness to experiment and push boundaries, even if the results are mixed.
As The Weeknd closes this chapter, one can only hope that his next incarnation will bring a renewed focus and innovation that will once again captivate and mesmerize his audience.
More from The Rice Thresher
Study Abroad Photo Contest spotlights global experiences
For the first time since the Covid-19 pandemic, students gathered in the Ley Student Center to celebrate global experiences through photography.
Review: "The Crux" Should Redefine Djo
Joe Keery’s work has been boiled down to Steve Harrington from “Stranger Things,” but this label shouldn’t define his 10 years in the entertainment industry. Keery, under his stage name “Djo", is the voice behind the TikTok hit “End of Beginning,” which was released with his album “DECIDE” in 2022 and climbed the charts for the first time in 2024. With “The Crux”, Keery’s third album, he tries to separate his work as Djo and an actor, evidenced by the album’s visual of Keery escaping a building.
Review: “Lonely People With Power” merges blackgaze fury with dreamy introspection
Fifteen years into a storied career that’s crisscrossed the boundaries of black metal and shoegaze, Deafheaven has found a way to once again outdo themselves. “Lonely People With Power” feels like a triumphant return to the band’s blackgaze roots, fusing massive walls of guitar-driven sound with whispery dream-pop interludes, recalling their classic album trio of the 2010s (“Sunbather,” “New Bermuda” and “Ordinary Corrupt Human Love”). It also bears the learned refinements of “Infinite Granite,” the 2021 album where they dabbled more boldly in cleaner vocals and atmospheric passages.
Please note All comments are eligible for publication by The Rice Thresher.