The album serves as a thematic conclusion to the narrative arc that began with the dark, psychedelic journey of After Hours and continued through the purgatorial aesthetic of Dawn FM.
From the opening track, Hurry Up Tomorrow immediately immerses listeners back into this atmospheric, cinematic world that Abel has curated.
The first song starts with a sample from the iconic song ‘Thriller’ by Michael Jackson, a clear homage to one of the Weeknd’s inspirations, whilst setting the tone for the rest of the album.
‘Cry For Me’ demonstrates the Weeknd’s feelings about touring, where he sings "Everytime I hit the road, it takes a little piece of me, kills me slowly". Touring is hard and the Weeknd is tired, understandably as one of the biggest artists in the world.
In ‘Baptized In Fear’ the Weeknd dives into the feeling of being overwhelmed by guilt and regret. He is trapped in a moment of emotional and physical paralysis symbolising the suffocating weight of his past, fame and success.
The transition from ‘Baptized In Fear’ to ‘Open Hearts’ is so satisfying. This song explores the themes of healing from heartbreak and learning how to love again, a recurring theme throughout the Weeknd’s discography.
‘Reflections Laughing’ delves into the themes of vulnerability, self-reflection and the poignant nature of fame. His haunting vocals sing the words "I won't make a sound / Blood on the ground / When they take my crow". The Weeknd is referring to his retirement, where he is stepping down and the opportunity is there for someone to succeed him as number one.
In ‘Take Me Back To LA’ the Weeknd is reminiscing on how things used to be. This song is connected to ‘Escape From LA’ from After Hours where he is begging to leave. Now that he has matured, he realises that LA wasn’t the problem, and only he is to blame for who he was.
‘Give Me Mercy’ sees the Weeknd expand on his personal struggles with religion. This song is vulnerable and spiritually charged, making a dramatic evolution from the hedonistic themes that defined the Weeknd’s earlier work. The song serves as a powerful confession where he confronts his complex relationship with faith head-on. It is a raw, unfiltered dialogue with God where he pleads for divine forgiveness.
‘Red Terror’ is an electro-pop song that is from the perspective of the Weeknd’s mother. The red terror was a violent political repression campaign in Ethiopia (where the Weeknd’s mother is from), and it is thought that it may be the reason why his mother moved to Canada.
I must be on the fifth listen as of this moment, and every time I listen it seems to get better. The album feels like a fusion of Dawn FM’s electronic, synth heavy vibes with After Hours’ dark, hauntingly seductive nature.
With 22 tracks there is a bit of everything, from Brazilian funk on ‘Sao Paulo’, electronic house on ‘Open Hearts’, synth-pop by the amazing Mike Dean and something I can only describe as a feeling of transcendence on ‘The Abyss’ (especially with Lana Del Ray’s angelic vocals).
Hurry Up Tomorrow features a rollercoaster of emotions: anger, fear of death, acceptance, pain and love. This isn’t just an album, it is an experience.
This album truly takes you on a journey, even if you are not a die-hard fan. The depth of production, storytelling and transitions are second-to-none.
The songs flow together so beautifully that not a single song is skippable. On top of this, the last track of the album transitions into his first ever song on 'Trilogy', representing a full circle moment.
The fact that this represents the end of his journey as the Weeknd is truly a bittersweet moment for all fans.
This profound transition marks a pivotal moment in contemporary music: through Hurry Up Tomorrow, we witness not just an album’s conclusion, but the retirement of a persona that defined popular culture for over a decade.
As the final notes fade, we experience the deliberate unmasking of an artistic alter-ego as Abel Tesfaye steps forward from the shadow of his creation.