Hurry Up Tomorrow is the sixth studio album from Canadian superstar The Weeknd, serving as the final installment in the After Hours (2020) trilogy.
The album features a lineup of artists including Justice, Anitta, Travis Scott, Florence + the Machine, Future, Playboi Carti, Giorgio Moroder, and Lana Del Rey. Each artist contributes effectively, but the standout moments come from Playboi Carti on Timeless, where he shifts through different vocal inflections; Future on Enjoy the Show, seamlessly flowing through the production and completing the track; and Travis Scott, who introduces a deep, new sound on Reflections Laughing.
Beyond the features, the album’s strongest element is its production, which creates a multidimensional listening experience. The Weeknd skillfully blends MIKE DEAN’s signature synths and mixing throughout the album, maintaining an alternative R&B sound that adds a lush, atmospheric quality.
However, despite the stellar production, the album has its weaker moments. Sao Paulo (feat. Anitta) is one such low point, as the Brazilian phonk influence feels disconnected from the rest of the album. It comes across more as an independent single than a cohesive part of the tracklist. Additionally, The Weeknd’s vocals at times feel buried beneath the production, making sections of the song less engaging.
In contrast, Reflections Laughing (feat. Travis Scott and Florence + the Machine) is one of the album’s high points, showcasing stunning production with a standout moment from Scott’s vocals near the end. Another highlight is Niagara Falls, where The Weeknd’s vocals shine as he harmonizes seamlessly with the production.
The album’s flow is another strength, with each song transitioning smoothly into the next, making for an immersive full-album listening experience.
However, my main critique is that while the album is a fitting close to the After Hours trilogy, it doesn’t feel particularly new. It leans heavily on a familiar formula, making it sound more like a continuation than an evolution. While this isn’t necessarily a flaw, it slightly diminishes the album’s impact due to its predictability.
Overall, Hurry Up Tomorrow is a strong conclusion to the trilogy, but I hope to see The Weeknd explore new sonic directions in the future—even though he has certainly mastered this one.
