Singer-songwriter Abel Tesfaye, known professionally as The Weeknd, released his sixth album, “Hurry Up Tomorrow,” on Jan. 31. The Weeknd has reached meteoric popularity, achieving chart-busting superstar status, receiving record-breaking musical accolades and starring in the Max show “The Idol.”
The album will likely be the complete end of Tesfaye’s use of his stage name, closing out a five-year trilogy with “After Hours” and “Dawn FM.” This project asserts Tesfaye as his music’s center image rather than The Weeknd persona.
New fans will be thrilled with the behemoth hour and twenty-four minutes of pure Weeknd. The album serves as a complementary soundtrack to the upcoming psychological thriller of the same name, which will be released this year on May 16. The film stars Tesfaye in his first feature appearance alongside Jenna Ortega and Barry Keoghan. Over the past year, Tesfaye has been promoting the album on his Instagram while on a world tour, which serves as the backdrop for the film and album.
The album’s lead single, “Timeless,” was pre-released on Sept. 26, 2024. Featuring rapper Playboi Carti, the track blends mellow, melodic synth-pop with other influences, all produced by the legendary Pharrell Williams. It builds on the trap foundation of The Weeknd’s alluring vocal performance, combined with Carti’s trademark high-pitch delivery and ad-libs. As the album’s first preview, it was the first dose of what’s to come from the album and film: a luxurious, edgy portrayal of stardom — one built on flexing and showing off — a side of The Weeknd rarely seen.
The next single, “São Paulo,” is the album’s most intense track. The title references the Brazilian city, a cultural hub for intense parties and dance, and the country’s most populated cosmopolitan urban center. The song features Brazilian singer Anitta, who provides the bridge and vocal backing, while Tesfaye bumps his voice to the beat. Like much of the album, the track marks a new experimental cross-cultural transcendence for Tesfaye, delving into Brazilian EDM funk.
The album opens with “Wake Me Up,” featuring and produced by the French electronic duo Justice. The track plays out as much like a cinematic opening for the album as it would be for a film, with a rich and harrowing introduction juxtaposed against a haunting thematic electronic house dance track. Justice, veterans of the European nightclub scene, bring along their signature style with the song’s distinctive groove that takes clear inspiration from Michael Jackson’s “Thriller.” Much like “Thriller,” the song constructs a musical narrative of mounting intensity, lulling the audience into Tesafye’s mind.
The short and sweet interlude “Opening Night” perfectly complements the orchestral beauty of “Reflections Laughing,” the next track featuring Travis Scott and Florence + The Machine. One of the most captivating elements of the song is its use of a telephone voicemail layered over background sounds of heavy alcohol consumption. The track offers a raw look at fame, touching on the emotional and sometimes self-destructive ways performers cope and how these habits affect their relationships.
“Red Terror” is unique, with a standalone music video divergent from the central concept. Eddie Alcazar created the film using claymation to construct a horrific and gruesome world. He follows an unnamed child as he navigates a heinous and dark forest, discovering a heart-like artifact that transports him into a grotesque world of hostile nature. Lyrically, however, the song shifts perspectives, exploring themes of maternal protectionism during crises.
“Hurry Up Tomorrow” bookends the chapter on The Weeknd, serving as Tesfaye’s chance to shed the character entirely. The album is chock-full of excellent songs and prepares fans and new arrivals for the thriller movie that awaits the theaters later this spring. Tesfaye’s performances throughout the album show that he remains an evolving talent and is always willing to experiment with conceptual approaches. His voice is familiar, yet he pushes himself to the limits with each track.
Last year, several prominent artists — Charli XCX, Donald Glover, and Beyoncé — led the charge to break out of a stagnant industry-perfected performance mold and explore anxieties, frustrations, and industry criticism in more personal, more profound ways. With 2025 in full swing, more artists could follow suit, going against industry expectations and allowing room for exploration, reflection, and relief away from perpetuity.
Connor Moody is an Arts & Entertainment Staff Writer. He can be reached at cwmoody@uci.edu.
Edited by Alaina Retodo and Jaheem Conley
