“I can’t fucking sing!” screamed Abel Tesfaye, better known as The Weeknd, when his performance at Sofi Stadium in 2022, during his After Hours tour, came to an abrupt end after losing his voice. Calling it a “mental breakdown,” this moment led The Weeknd to scrap the album he was working on and start fresh. Hurry Up Tomorrow, The Weeknd’s 6th and final studio album, is an introspective 22-track collection that reflects on fame, self-destruction, and ultimately redemption.
The album starts with a homage to Michael Jackson’s “Thriller” with “Wake Me Up,” a collaboration with the French duo, Justice. The track is a compelling introduction to The Weeknd’s album, effectively setting the tone for the musical journey that follows. It then seamlessly transitions into “Cry For Me,” a track with Latin and trap undertones that highlights Abel’s vulnerability as he grapples with love and fame: “The crowd will scream / I block my ears / To stop the cheers / ’Cause the stage took a toll.” The next track, “I Can’t F*****g Sing,” is a short audio clip from the infamous Sofi Stadium incident in 2022, which partly inspired Hurry Up Tomorrow’s theme and laid the foundation for its creation. It serves as a transition into “São Paulo,” an experimental sound featuring Annita that infuses Brazilian funk to produce a vibrant dance hit, with “Until We’re Skin And Bones” as the outro.
In the melancholy “Baptized in Fear,” The Weeknd goes back to his roots, with a sound similar to his older projects, especially Beauty Behind the Madness. Tesfaye’s moody tone helps characterize the themes of overwhelming guilt, regret, and the feeling of being trapped by his past mistakes. He sings, “Tryna right my wrongs, my regrets filling up my head,” and “water fills my lungs, vision blurry,” using the imagery of baptism as a metaphor for being submerged in the weight of fear and self-awareness, before smoothly developing into a fast-paced radio hit with “Open Hearts.” This track features haunting synths and a pulsating electronic beat, with Abel mentioning how love keeps him alive for another day.
“Opening Night” is an interlude with minimalistic production, creating a dreamy atmosphere. Track nine, “Reflections Laughing,” with Travis Scott and Florence + the Machine, is a dark, moody ballad with delicate guitar strums. The second half of the song utilizes chopped and screwed vocals from Travis, with a half-timed beat, reinforcing the song’s dark tone.
“Enjoy the Show,” featuring Future, is a light R&B track that surrounds drug abuse and its dangerous repercussions. It contracts the soothing, luxurious sound with dark lyrical content, creating a bittersweet tone. Abel sings, “Guess I could be healthy but I’m tryna find a reason,” and “I just wanna die when I’m at my fucking peak,” connecting his drug addiction to fame and purposeful self-destruction. This theme of self-destruction and indifference toward death is a recurring motif throughout Hurry Up Tomorrow, symbolizing the metaphorical demise of The Weeknd persona with this album.
Track eleven, “Given Up on Me,” is a collaboration between The Weeknd and Metro Boomin. It features a high-energy, heavy-hitting beat and a catchy rhythm, before switching into a slower outro in the second half of the song. Abel battles with his own identity, claiming it’s too late to save him and he’s given up on himself, before asking God directly not to give up on him.
“I Can’t Wait To Get There” has a rich, soulful sound, where Abel confronts both hardships and success throughout his life. The constant repetition of the line “I can’t wait to get there” evokes Abel’s sense of longing, like there is something better on the other side. He sings, “I wish I could get there to know / Where my love can grow.”
Track thirteen, “Timeless,” featuring Playboi Carti, stands as the lead single on Hurry Up Tomorrow. Released on September 27, 2024, it has amassed over 500 million streams on Spotify. With playful, standout lyrics like “Ever since I was a jit, I was legit,” the song thrives on its infectious confidence rather than a deeper thematic exploration.
“Niagara Falls” features a synthy, dreamy-like production, with a sample from “Someone to Love” by Jon B. featuring Babyface. A personal favorite, it showcases Abel’s vulnerability, before building up to become “Take Me Back To LA.” This track is a conflict about Abel’s bittersweet relationship with Los Angeles, the city that represents both his rise to fame and the emotional toll that came with it. It opens with vivid imagery of LA’s warmth, reflecting on a time when he felt more connected and alive, contrasted to his current sense of detachment. In the second verse, Abel expresses nostalgia for his hometown, longing for the snow and his hometown he left too young. The chorus first repeats “It’s better when I’m by myself,” speaking to the complex emotions of isolation Abel feels. In the last chorus, Abel repeats, “I hate it when I’m by myself,” highlighting the real unbearable nature of being alone with his thoughts and emotions. “Take Me Back To LA” is a beautiful progression that examines the artist’s evolution.
Track sixteen, “Big Sleep,” featuring Italian musician Giorgio Moroder, focuses on the transition between life and death. The repeated phrase “big sleep” is a metaphor for the afterlife, and represents the death of his darkness with “The Weeknd” and the rebirth of Abel Tesfaye: “Now I lay me down to sleep / Pray the Lord my soul to keep / Angels watch me through the night / Wake me up with light.”
“Give Me Mercy” is all about asking for forgiveness and reflecting on past mistakes. With an upbeat tune, Abel underscores his desperation for forgiveness and the hope for acceptance despite his flaws.
“Drive” is a slow, dreamy track, where Abel conveys the disease of fame and expresses a longing for simplicity. It is a minimal yet intriguing production that contrasts the other songs in the album, seeing Abel seemingly get his thirst for life back. “Drive” recognizes the importance of appreciating life’s simple pleasures and personal fulfillment.
Track nineteen, “The Abyss,” features frequent collaborator Lana Del Ray, who offers a spectral presence, especially in the outro, where she repeatedly questions: “Is a threat, not a promise?”
This leads into “Red Terror,” a powerful, symbolic song from the perspective of Abel’s mother during the harrowing events of the Red Terror in Ethiopia. It showcases his mother’s sacrifice before shifting to a new beginning: “Then moved to the city, eight months, we were pregnant / You came out so precious, in the snow, you would grow.”
“Without a Warning” stands as a quintessential piece in The Weeknd’s discography, blending an atmospheric progression with deep symbolism. The track dives into themes of mortality, the burdens of fame, and the unpredictable nature of life. It serves as The Weeknd’s final introspection before the closing song, “Hurry Up Tomorrow,” delivers a definitive farewell. This track sees Abel “ready for the end,” as he has “no more fights left to win.” Throughout his career, The Weeknd has been known for songs that embrace sin and excess. However, Hurry Up Tomorrow signals a shift in perspective. Here, Abel expresses a desire for redemption, longing for something beyond the chaos. He is ready for change, ready for peace, and ultimately, ready for heaven.
With Hurry Up Tomorrow, The Weeknd delivers a cinematic farewell. The album creates a journey that feels both personal and universal. Smooth transitions between songs are a standout feature on the album, creating a seamless flow that amplifies the listening experience. Each track feels connected, and contributes to the overarching narrative of closure and transformation, making it easy to enjoy them as a collective journey rather than as standalone songs. Whether this is truly a goodbye or the start of a new chapter, one thing is certain: Abel Tesfaye’s legacy is already timeless.
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