The Weekly Coos

Hurry Up Tomorrow by The Weeknd closes the circle of another trilogy of albums connected through sound and thematic motifs. Similar to Trilogy, which contained the three previous mixtapes dropped before signing to a major label, it shows us this evolution of the artist and how his sounds have traversed different sonic planes. Whether it’s the heightened modernist synth-pop club tracks of After Hours or the nostalgia-induced Dawn FM, where the disco influence became more realized, The Weeknd has centered himself on a board balanced with direction and consistency. Hurry Up Tomorrow is a concoction of both with a sense of danger as The Weeknd tries to expand beyond certain comfort zones, like his dabbling in Brazilian Funk with “São Paulo” or incorporating “Thriller” in the opening track. Unfortunately, a few moments do see The Weeknd relying on comfort; additionally, it doesn’t help the album is longer than it needs to be, but there is a purpose. So as the final track closes and transitions into the first song of Trilogy, you get a grip that this is probably his swan song under the moniker, and as such, he’s letting it out with some bumps along the way.

It’s safe to say that Hurry Up Tomorrow is the weakest of the trilogy, though it isn’t bad. It lacks the tightness of Dawn FM or the looseness of After Hours, and some of this can stem from the lingering anxiety that seeps into the emotions felt throughout each album. It’s conceptually emotional and gains immense traction in the first half before faltering in the second, with some inconsistent tracks that fail to introduce anything new, like the typical Weeknd & Future collaboration. Once you’ve heard one, you’ve listened to them all; unfortunately, this is one of the lesser offerings. “The Abyss” with Lana Del Rey is another track that doesn’t capture the spark of their previous collaboration. Fortunately, The Weeknd’s collaborations with Florence Welch and Playboi Carti offer something refreshing with their contributions, even if the latter is more of a braggadocio radio hit. Though the production maintains a consistently high wavelength of capturability, some still don’t have all the luster, like “The Abyss” and “Big Sleep.” They feel less interesting, and despite some engaging ideas in the beats, it doesn’t gel when the writing isn’t captivating. It’s a down pivot from better tracks like “Baptised in Fear,” and luridly bleak writing.

The Weeknd doesn’t shy from writing emotionally bleak or lucid images; his strength holds this album together as it did with Dawn FM. Though common themes emerge, like loneliness and fame-induced anxiety, The Weeknd remains consistently intriguing and captivating, even when the final product may be perceived as weaker in comparison. Unfortunately, all that can’t stop the album from feeling longer than it should be. In Hurry Up Tomorrow, this issue persists in the second half, particularly in the tracks I’ve criticized earlier as they tend to overstay their welcome. With The Weeknd’s physical release being a restructured collection of 11 tracks that might tell a different story, I can’t proportionally distinguish the two, even when the highs still elevate it onto a higher plateau in both. While an imperfect album has tracks that don’t hit, it feels more egregious with albums of these proportions—Chris Brown certainly didn’t help here. When it’s tied to a narrative, you look for the connections, like how his apropos Future collaboration about their dangerous relationship with drugs could signify his future sobriety as he leaves this behind. Unfortunately, weaker tracks like this and “Give Me Mercy,” which is too one-dimensional, have their place but messes the flow by being forgettable, unlike the charged and direct “Given Up On Me.”

Though the writing is its strongest component, the production carries a significant emotional weight while exposing flaws through tracks like “São Paulo” and “Timeless,” where the sins are revealed without shame. It expresses a willingness to accept his faults, even though he knows the opposite is preferable. It’s like he’s battling with himself, which makes “Wake Me Up” a fantastic opener with its haunting beat that includes samples from “Main Title (From The Motion Picture Scarface)” by Giorgio Moroder and “Thriller.” However, the former underscores what has served as a means to an end with the finale of this trilogy. The Weeknd, with numerous producers, including Oneohtrix Point Never, Tommy Brown, DeHaala, and Mike Deam, showcase their history of creation through the fluidity of greatness present in many of the beats. There’s something commendable about having three contrasting sounds finding synergy as they transition into one another, particularly when The Weeknd croons over Synth-Pop in “Cry For Me” before utilizing his vocals in Brazilian Funk in “São Paulo;” it comes after a suspenseful interlude where he feels he can’t sing as he did before. It’s a situation where anxiety is induced through his writing and it’s painted beautifully—the opposite of “I Can’t Wait To Get There,” which feels like a Dawn FM throwaway.

I am a fan of Hurry Up Tomorrow, even though I focused more on the negatives. However, this is because they tend to stand out just as much as the positives, and it’s crucial to acknowledge that the hype surrounding the album was overwhelming for many. While I still came away vibing intensely with the incredible highs generated by the synchronicity between the production and vocal performances, it’s disappointing that the album turned out to be the weakest of the three in this trilogy that showcases the absurd stardom in music, especially given its stylistic contrast to conventional pop. He leaves us on a triumphant note, despite his flaws, which make him human, allowing you to connect with the music more deeply than before. I know this review is late, but I wanted to reflect on this album more thoroughly because of its greater significance, and it was worth it, as I absorbed every bit of this album I could so far. It’s only going to grow from here.