After months of cryptic teasers, and speculation, The Weeknd’s latest album, Hurry Up Tomorrow – the grand finale of a trilogy that began with After Hours (2020) and Dawn FM (2022) – is finally here.
But this isn’t just another album drop. Hurry Up Tomorrow is a full-scale multimedia event, with a film of the same name and similar themes set to premiere in theatres on 16 May 2025. Directed by Trey Edward Shults and starring The Weeknd himself – alongside Jenna Ortega and Barry Keoghan – this psychological horror movie centres around a musician “on the verge of a mental breakdown.”
Yet, Hurry Up Tomorrow might be something even bigger – a farewell. After all, Abel Tesfaye has openly toyed with the idea of leaving “The Weeknd” behind. It’s surreal to think that his upcoming North American tour potentially serves as his persona’s swan song.
I mean, the album’s themes alone suggest as much. Regret. Longing. Transformation. But does Hurry Up Tomorrow live up to its current hype? Does it truly deliver the send-off The Weeknd deserves? Well, let’s find out.
Hop on this ride with me as I experience the journey that is Hurry Up Tomorrow, track by track – exploring its highs, lows, and everything in between.
Wake Me Up (feat. Justice)
It’s fitting that Hurry Up Tomorrow is about to be a cinematic experience, because Wake Me Up sounded like the opening credits of a film. But just when I thought I’d got a handle on the mood, everything shifted. The melody took an almost gospel-like turn, lifting the track higher and higher – until the beat kicked in.
And suddenly, I was in an ‘80s club – without a single complaint about it. Dare I say there was a Michael Jackson-esque flair? The orchestral strings managed to creep back in, too, somehow – I couldn’t tell you what genre this song is. There’s not a singular one I could classify this under—typical The Weeknd.
But the feel-good chorus was a reminder that no matter how experimental The Weeknd gets, he’s still the smooth R&B king. I just know musicians are having a field day with this one – big props to Justice for this impeccable production.
Right off the bat, my expectations were set high. I loved the grand entrance, and I loved the ‘80s influence even more. Let’s see if the rest of the album met the standard!
Cry For Me
Oh. My. God. That transition. If you’re listening to Hurry Up Tomorrow in order (which you absolutely should), then you know exactly what I’m talking about. The transition from Wake Me Up to Cry for Me’s action-movie-style sound effects was chilling. You need to experience it for yourself – earbuds are a must.
As Cry for Me progressed, it sounded like the plot was thickening. Two songs in, and there was already a clear theme – that the end is near. The stakes are rising. But as the synths became more evident, I wasn’t feeling it. They were too loud and overwhelmed the rest of the instrumentals. Frankly, I’ve never been a fan of synths to begin with – so I chalked it up to my bias.
Then the 1:50 mark hit. And… the song lost me completely. The high-pitched, bell-like sounds? Agonising. The sound was grating my eardrums. Not to mention, hip-hop beats making an entrance during the last 40 seconds of the song felt out of place, as if they were thrown in just for the sake of it.
And that’s the thing – this song had potential. The intro was so strong, setting up something dark, dramatic, and theatrical. But the vibe wasn’t consistent, and by the end, I was left wondering what could’ve been. What if the synths were toned down? What if the bassline was pushed forward instead? A missed opportunity, but we move.
I Can’t Fucking Sing
After the chaos of Cry for Me, I braced myself for the next full-length track – only to be completely caught off guard. Because I Can’t Fucking Sing is just a 12-second transition! All I heard of The Weeknd in this interlude was him yelling the title phrase, aggravated.
Turns out, this might be a callback to that infamous Los Angeles show where he lost his voice mid-performance, forcing him to cancel the concert on the spot. But the bad apples in the audience were brutal. They booed him, and many people online refused to believe him.
I’d imagine this interlude captures a little bit of the exasperation he felt then – and understandably so.
São Paulo (feat. Anitta)
Funnily enough, right after The Weeknd screams about how he “can’t sing”, it’s Anitta who opens São Paulo playfully. Now, this song actually dropped months before the album, but I’ll be honest – after hearing snippets of it online, I didn’t give it much attention back then. And even now, after hearing it in full, I’m still iffy about it.
I know Brazilian funk has been taking over, especially as audios for fan edits of celebrities. But – and I mean this with all due respect – it’s not my cup of tea. And unfortunately, this track didn’t change my mind. The production felt clashy, which was probably a stylistic choice, but for me, it sounded messy. I could see it thriving as a club anthem, where the bass and rhythm would hit much harder – but on its own, it felt too scattered.
I also feel like I didn’t hear enough of Anitta, which made her feel a bit disconnected from the song. Lyrically, São Paulo leans into lust and temptation, which is fine and all, but that was also another thing that seemed detached from the album’s overarching themes. Not a huge issue, since it’s clear The Weeknd is exploring different musical directions, but it didn’t grip me the way I wanted it to.
Then came the music video.
Phew, hard watch. At first, I was intrigued – until I saw Anitta’s pregnant belly… growing lips… and singing The Weeknd’s lyrics. Distressed and wandering the streets of New York in lingerie, she embodied some nightmarish vision that I just could not sit through. I had to switch to Spotify to get through the rest of the song, but my stance didn’t change.
I appreciate the ambition and the risk-taking. But did I enjoy it? Not really, I’m afraid.
Until We’re Skin & Bones
And just like that, another interlude. Until We’re Skin & Bones practically bled out of São Paulo – I barely noticed the transition. I don’t have much to say about this, except that it served its purpose as a bridge between two songs and built anticipation for the next one.
Baptized in Fear
After São Paulo and Until We’re Skin & Bones, the change of pace with Baptized in Fear was a bit sudden. I was holding my breath for something big to happen – the interlude beforehand had built so much anticipation, after all.
Instead, I found myself thrown into something slower and more contemplative, which made this song’s placement in the album – musically – a bit odd. If I listened to it on its own, maybe on a long, late-night commute with nothing to do but let it sink in, I’m sure I would have appreciated it ten times more.
That being said, the religious symbolism in this track is fascinating. The idea of baptism – usually associated with purification and rebirth – is twisted into something else. Instead of being cleansed in water or faith, The Weeknd is “baptized in fear.” Perhaps this song was meant to show the steps he’s taking to find himself again, and I found that quite poignant.
Maybe the contrast between songs was intentional here, as a reflection of the album’s themes of existentialism and rebirth, but with this placement, it wasn’t as immersive as it could have been. It’s very distinctively The Weeknd, though. I’m sure you XOs catch my drift!
Open Hearts
I can’t believe I’m saying this, but the beats and pulsating rhythms might just be my favourite parts of Open Hearts over everything else in the song. I just don’t think I would have enjoyed it half as much without them. But then again, this song has an ‘80s vibe – like Wake Me Up – so maybe that’s why I dig it so much. The harmonies were layered tastefully too, and added to the song’s richness without being overdone.
I was so focused on the production and instrumentals that I barely registered the lyrics at first! So of course, I had to give it a second listen. It portrayed the struggle of opening up to love again after being hurt, and by the end, there’s a sense of cautious optimism – because this new love is a reason to stay alive “for another day.” Another reinforcing nod to The Weeknd’s road to healing!
The chorus did lose me a little with the high-pitched, grating sounds – they were somewhat similar to the ones in Cry for Me – but I’m willing to overlook it. I’ve caught myself playing it in the background while working, and that says a lot!
Opening Night
I liked how Opening Night eased in with a more muted transition. It felt like an intermission of sorts – a moment to release a breath before the anticipation builds again. The instrumentalisation was slow, ambient, and sparse – which was a dramatic change in tone.
This song explores a relationship strained by mistrust, with The Weeknd’s internal battle of balancing love, fame, and self-identity while trying to hold it all together. And the simplicity forced me to focus on the lyrics and these themes.
All in all, I’d call Opening Night a reflective pause in this album’s journey.
Reflections Laughing (feat. Travis Scott and Florence and the Machine)
Reflections Laughing caught me off guard instantly with its folk-like guitar riffs. I would have never imagined a song with Travis Scott as a feature to sound like this – not in my wildest dreams! And how unlikely this pairing is, of him and Florence + The Machine on The Weeknd’s track. I was eager to see where this would go.
The soft laughter in the background and the delicate woodwinds transported me into an old-world fairytale. And the ethereal adlibs and layers only pulled me in further. Until the sudden jarring ring of a phone call came around and disrupted the soundscape.
Ugh, I was getting more and more impatient as the conversation dragged on, which sounds terrible now that I’ve realised what it was about. A concerned friend was on the other line, worried about The Weeknd reverting to his “old self.”
That said, I was surprised that I didn’t mind the genre shift when Travis Scott’s verse actually came in. Normally, I dislike abrupt hip-hop elements in tracks that are otherwise softer. But somehow, it worked here. What a beautifully intricate song.
No doubt, this one is going on repeat – but I’ll be skipping the phone conversation!
Enjoy the Show (feat. Future)
I didn’t even notice this song ended when it did – and it was five minutes long! Enjoy the Show’s atmospheric production was laced with distorted high adlibs and vocalisations – something I’ve come to realise I enjoy in songs.
And this song had that nostalgic essence of The Weeknd’s older work. At this point in the album, things have really started to pick up, and any doubts I had early on are being steadily washed away. There’s a strong fatalistic undercurrent running through the lyrics, which I think is an important reminder that healing isn’t a linear path.
And I loved the way The Weeknd and Future had some natural back-and-forth action – that kept the momentum going without feeling abrupt. This was an enjoyable listen!
Given Up on Me
Little did I know what was coming when Given Up on Me started playing. I thought this song, with its simplistic hip-hop production at the start, would only be a casual listen for me. I couldn’t have been more wrong.
But first, let’s talk about The Weeknd’s vocals. There was this softer, gentler side to his delivery that I loved. I liked how he left little pockets of silence, letting the instrumentals shine – which was important, considering how much this song had going on.
Because close to the middle of a track – it turned into a whole different song. Jazz. Then out of nowhere, there was a piano solo, something I’d hear in a café or elevator. This song was a genre buffet, but instead of feeling messy, it sounded thoughtful.
Based on the lyrics about toxic relationships, it was as if the song was mirroring that emotional push and pull. It kept me on my toes, and the unpredictability made the listening experience so fun. A solid song all around!
I Can’t Wait to Get There
Ah, now this was interesting – the juxtaposition between the dark undertones and the major key of the chord progressions in I Can’t Wait to Get There. Even though the lyrics touch on hardship, fame, and inner demons, the music itself carried a strong sense of hope.
I thoroughly enjoyed the choir adlibs; they gave the song a soulful quality. There’s just something about choral backing vocals that do it for me every time. I also loved the old-school ‘80s and ‘90s R&B influences. I could listen to that sound all day!
At this point, I was getting excited about how much I was starting to enjoy this album. The first song had me hyped, but then the next few tracks had me worried I’d set my expectations too high. Now I’m shocked I could even think that!
Timeless (feat. Playboi Carti)
Since Timeless was released last September, I’d already heard this marriage between The Weeknd’s signature R&B with Playboi Carti’s rap-influenced style! The mix of melodic vocals, heavy autotune, and hard-hitting beats were dynamic and all, but this song didn’t stand out to me—I can’t put my finger on what was missing.
I do quite like the chorus – it’s catchy and easy to get stuck in my head. The rest of the song? It’s fine. Nothing showstopping. It did have that confident energy that The Weeknd’s previous songs had, so I can see why it was chosen as a single.
As for Playboi Carti’s verse… It’s a rap verse alright. I don’t have much else to say. I guess the flow was nice, but I’m no rap connoisseur. It didn’t leave a big impression on me, but it did add something a little different to the song.
What I did get from this song was that The Weeknd was back in a more self-assured space. So, while it’s not my jam, I can appreciate its place in his character arc.
Niagara Falls
Hmm, I’m teetering on the fence about this one. Niagara Falls explores past relationships, vulnerability versus pride, and the complexities of emotional connection. The general melody is pleasant to my ears, but production-wise, this one didn’t leave a strong impression on me either. The instrumentals felt a bit too static, lacking enough variation between verses and choruses.
I also felt a bit conflicted about the vocal production – I feel like if the high distortion had been sprinkled in more subtly, it would have created a nuanced dimension, but instead, I feel like it took away from the song’s emotional core. Maybe it’s because so many tracks on this album play with genre-blending, or maybe it’s just this song in particular, but something about it felt off.
But I did like the dramatic, slowed-down ending – it added more drama, something I’ll never say no to! One thing about The Weeknd is that even when a song isn’t completely to my taste, he almost always delivers with the outro. This song proves it!
Take Me Back to LA
The transition into Take Me Back to LA almost slipped past me. At times, when I was listening to this album, I felt like I was playing a guessing game of whether I was onto the next song already.
The first thing that caught my attention in this song was, well, not the song itself, but the shift in narrative. Up until now, the album has had a heavy focus on endings – waiting for the end, accepting the end – but here, The Weeknd looks back instead. There’s a longing to return to a time before everything changed – with themes of loneliness and disillusionment with success.
That being said, musically, this isn’t a track I’d go out of my way to revisit. It’s a more stripped-down, introspective piece, which makes sense for the theme, but I kept waiting for something to make me feel the weight of what he’s singing about. Maybe it’s because the album has had such big moments that this one felt a little underwhelming in comparison.
Still, what Take Me Back to LA lacks, it makes up for it with its interesting perspective of wanting to go back to a place that no longer feels like home. It deserves its cookies!
Big Sleep (feat. Giorgio Moroder)
Okay, there’s no way the reversed instrumentals at the start of Big Sleep weren’t symbolic of The Weeknd yearning to go back in time after Take Me Back to LA. His vocal runs and ad-libs were especially satisfying in this song, too. Around the 40-second mark, there’s this moment where it sounds like a robot shutting down and going to “sleep” – a nice touch!
Now, here’s the shocker. When the synths entered, I really liked them. The minor progression just did it for me. And I loved the strings – an unmistakable classical influence which I think makes any song better. I found the texture created by the contrast between the classical elements and the “futuristic” sounds so interesting.
Was it supposed to be a metaphor? The robotic sound representing the artificiality of The Weeknd’s public persona, hence why it went to “sleep”? Maybe I’m reading too much into it, but either way, I had a blast listening to this.
I feel a little guilty saying this, but yet again, by the end of this song, I barely registered The Weeknd’s lyrics because I was so enamoured by the production. If anything, that’s just a testament to Giorgio Moroder. I only recently found out how much of a pioneer he is in electronic music, and he has a new fan in me. I’m happy to say Big Sleep has a forever home in my playlist!
Give Me Mercy
Ooh, I wasn’t expecting this! What a switch-up from Big Sleep. We’re back to the ‘80s influence, and honestly, I’m here for it. With pop influences and classic feel-good energy – it’s just one of those songs that lifts the mood. Nobody’s going to complain if this plays at a party, that’s for sure.
This song marks another big step in the story, too – he’s seeking forgiveness for his sins. It’s almost common knowledge amongst fans that The Weeknd has had long-standing rumours of “selling his soul” and it seems like he’s finally addressed with the line “Devil tricks with paradise, none of it is true”.
He’s inviting light into his life now, and welcoming it with open arms – which is a major shift from his darker, more self-destructive themes. If you can’t tell already, I got more and more invested in this album’s arc as the songs went on!
Drive
One word – ethereal. There was something so atmospheric about Drive’s production – simple, yet intentional. The Weeknd explicitly describes fame as a “disease” in this track, and there’s this yearning for freedom, for autonomy, for one of life’s simple pleasures – driving.
Although I must say, at times, the beat felt like it sent a mini shock through my body against the minimalistic instrumentals. I had to lower the volume in my earbuds just to fully take it in, which was a shame because this is exactly the kind of song that makes me wish I could fill my eardrums with.
But it only made me realise how good this song would sound blasting in a car on a late-night drive – unironically. Honestly, I think I’m just being nitpicky at this point, because there’s nothing else I dislike about this song! So it still has my stamp of approval.
The Abyss (feat. Lana Del Rey)
The moment I heard the piano opening, I knew I was going to adore Abyss. The piano’s arpeggio-like runs immediately set the tone, delicate yet haunting. The gradual build-up with The Weeknd’s lilting voice, the quickening “beeping”, the beat drop making a sudden, unexpected entrance – it all just worked.
This might have to fight with Big Sleep for my top spot now. I fell for its dreamy, otherworldly quality – and Lana’s vocals, as always. The way her vocals echoed made it feel even more vast, like an endless void.
This song had a weight to it, and the lyrics only made the song heavier. They dive into existential crisis and the pain of letting go, and the abyss as a metaphor for psychological collapse is so striking.
The entire track was like a slow descent, and by the end, it was as if it had faded into the abyss itself, ending like a cliffhanger. Truly artistic, the way the production and lyrics came together in this song.
Red Terror
Feeding off the lingering tension from The Abyss, Red Terror dragged me deeper into the weight of everything. The way the bassline slowly seeped into that sharp, staccato-like intro built such an eerie anticipation.
This hit harder than I expected. A lot of the lines were sung from his mother’s perspective, and there was this heartbreaking background vocal where he repeated “I feel so cold without you, Mama.” Speaking of vocals, this song absolutely highlighted just how capable he is as a singer. He felt every word he sang – and I felt it too.
And then… he started speaking. I jolted. The first thing he said was, “Death is nothing at all,” a reference to Henry Scott Holland’s famous poem that’s recited at some funerals. That abrupt switch from emotional vulnerability to this eerie spoken-word outro monologue gave me chills, and not in a good way. That might have been the intent, but still!
That said, his last line, “Call me by the old, familiar name,” was the most direct confirmation in this album that The Weeknd wants to be ‘Abel’ again. Now that gave me real chills. Still, while I foresee myself coming back to this song, I’ll probably have to cut it short, right before the unsettling monologue, from now on.
Without a Warning
Now, Without a Warning is what I call a truly cohesive song. Everything in this felt seamless – all the way from the calm, gradual intro, to when the steady drums started building, to the orchestral segment, to the audience cheering at the very end. It was a story; a natural progression.
Is it just me, or have the last few songs been feeling slower and slower? That’s another signal that we’re reaching the end. Alongside the sense of finality, this song feels like a letter to The Weeknd’s fans. “Leave my guts on all the stage,” he says, having given everything to his career, his music, and his audience.
In the context of the album, this track makes a lot of sense. But ironically, I think The Weeknd’s given us many, many warning signs that this moment was coming. Nothing about this song blew my mind per se, but it’s nice!
Hurry Up Tomorrow
And here we are – Hurry Up Tomorrow, the title track, the end, and quite possibly the most personal song on the album. And the gospel influences again – just like in Wake Me Up, the very first song of this album – made it all the more impactful.
As for the lyrics? The Weeknd laid it all out – the void left by his father, the pain of failing himself and his mother, everything – which couldn’t have made the placement of this song as the last one on the album any better.
Because Hurry Up Tomorrow felt like a song The Weeknd needed for closure. The fact that this is the least “commercial song” on the album – to me, at least – says everything. And if this really is the end of “The Weeknd”, then I don’t think Abel could’ve ended it any better.
Overall Thoughts
Wow. What a cathartic journey of redemption and release. It’s a lesson, really, that consequences will always catch up to you. And now, after years of self-destruction, The Weeknd is choosing to heal.
I saw someone compare Hurry Up Tomorrow’s ending to The Truman Show – and I couldn’t think of a better analogy! After years of being trapped in the persona of The Weeknd, he’s finally stepping back into the real world – into his real self.
It’s not often I see an artist construct such a vivid narrative across their discography. From Escape from LA to Take Me Back to LA. From Until I Bleed Out to Until We’re Skin & Bones. From Heartless to Open Hearts. From I Was Never There to I Can’t Wait to Get There. It’s all come full circle.
Side note – I feel like I had exposure therapy to synths while listening to this album, and I’ve grown to appreciate how versatile they can be in music production. It took me a while to get there, but I did. They’re not all bad!
Anyway, to answer my questions at the start – does the album live up to the hype? Yes. Does it deliver the send-off The Weeknd deserves? Also yes. I may not have loved every single song on this album, but there were more than enough songs that knocked it out of the park for it to still pass with flying colours in my book!
What about you? What are your thoughts on Hurry Up Tomorrow? Let us know by sliding into our DMs on Facebook, Instagram, or TikTok!
Visuals Courtesy of Universal Music Singapore.
