Hurry Up Tomorrow, But Let The Weeknd Last Forever: The Weeknd’s latest and possibly last album, Hurry Up Tomorrow, is a worthy ending to his career

I’ll never forget the countless nights spent in my room during the pandemic. The world outside felt distant, but “Blinding Lights” filled the silence. Half a decade later, as I listen to Hurry Up Tomorrow — The Weeknd’s new album — it’s surreal that his music has continued to be the soundtrack for my personal moments of reflection and growth.

The first song of the album, “Wake Me Up,” couldn’t have been a more terrific start with the transcendent vocals. When the beat dropped at 1:48, I thought I was listening to Michael Jackson for a moment, and not without reason.

Throughout this track and his career, The Weeknd has demonstrated a rare ability to blend vulnerability with bold, genre-defining production. 

Drawing inspiration from artists like Michael Jackson’s emotive vocal delivery and Prince’s seamless genre-blending, he crafts songs that serve as both an emotional opening statement and a declaration of his place in modern music. This was a genius move, as it allowed him to create his own unique style while also honoring the greats.

The second track, “Cry for Me,” instantly took me back to The Weeknd who filled the silences with haunting melodies, the atmospheric beats and the raw emotion. But this time, it felt fresh — like he’s taken that signature sound and twisted it into something more experimental, perfectly blending the past with the present in a way only The Weeknd can.

However, even a great album has its flaws. That flawed song in question was without a doubt “São Paulo.” It features popular female artist, Anita, and the music video showcases her walking around town with a mouth transfigured on her belly which is apparently the Weeknd. 

Ten seconds into the video, the only deep, thought-provoking question I asked myself was, “How can I unsee this?”

 The song itself was terrible because it lacked originality while the beats drowned out The Weeknd’s vocals. He would’ve done well to leave it off the album completely.

But this is The Weeknd we’re talking about. If there’s anyone who can sing their way out of a song like “São Paulo,” it’s him.

Little things like the otherworldly transition between “Baptized In Fear” and “Open Hearts” were so good I didn’t even realize the song had changed. And, finding features with icons like Travis Scott and Lana Del Rey was like finding jewels in an already vast treasure trove. 

In particular, the song “Reflections Laughing” with Travis Scott was harmonious. Travis Scott’s unbelievably good production combined with the soulful singing of The Weeknd made this without a doubt the second best song of the album.

So what song was the best? Well, rewind the clock a few months back and we get the iconic song “Timeless,” dropped by none other than Playboi Carti and The Weeknd. 

Though you could argue “Timeless” may be Carti’s song because he dropped it first, The Weeknd did include it in his album, and the beats produced by Pharell, fused with The Weeknd’s vocals and Carti’s voice changes made this a song for the ages. Not to mention The Weeknd got Carti to say actual words rather than mumble an ancient foreign language like he typically does.

“Hurry Up Tomorrow” feels like both an ending and a new beginning. Whether this truly is The Weeknd’s last album or just another evolution in his journey, it’s clear he’s mastered the art of blending the familiar with the unexpected. His ability to reinvent himself while staying true to his roots is what makes his album stand out. 

Tomorrow is uncertain and The Weeknd may be ending, but one thing’s for sure: his legacy will continue to echo long after the final track fades away.