Hurry Up Tomorrow is The Weeknd's sixth studio album released on January 31, 2025. It marks the apparent end of his modern trilogy that began with 2020's groundbreaking After Hours and continued with 2022's high-concept Dawn FM. Born Abel Makkonen Tesfaye, the Weeknd has emerged as one of the preeminent R&B pop singers of the 21st century, with massive hit singles such as "Starboy", "The Hills", "Wicked Games", and "Call Out My Name".
Tesfaye is also a notable actor, playing himself in the critically acclaimed Safdie Brothers instant classic Uncut Gems (2019) before starring in the divisive HBO series The Idol alongside Nosferatu's Lily-Rose Depp. He also contributed to the Grammy-winning Black Panther soundtrack produced by Kendrick Lamar and Anthony "Top Dawg" Tiffith. The Weeknd currently has 4 Grammy wins, his most recent for his feature on Kanye West's "Hurricane" for Best Melodic Rap Performance in 2022. He's currently nominated in the same category for his iconic “We Still Don’t Trust You” collab with Future and Metro Boomin.
Related
"Really Needed To Sit The F—k Down": The Weeknd Emotionally Reflects On Backlash To Euphoria Creator's Drama With 19% RT Score
The Weeknd emotionally reflects on the backlash to his collaboration with Euphoria creator Sam Levinson, which became critically panned.
The Weeknd has teased that Hurry Up Tomorrow isn't just the end of a trilogy but is the final farewell of the artist and alter-ego entirely. Given that he just headlined the Super Bowl in 2021, a well-deserved acknowledgment of After Hours getting robbed at that year's Grammys, it's hard to believe Tesfaye will hang it up for good. His latest carries elements of the signature heartbreak and soul-bearing anthems wrapped around a story of a self-loathing celebrity in despair. The Weeknd's persona is trapped inside his spotlight like a prison and tortured by the perils of fame.
22 I Can't F*****g Sing
Track 3 – 0:12
This 12-second non-song is a quick snippet of Abel complaining that he can't sing in between "Cry For Me" and "São Paulo". This is likely an allusion to when The Weeknd couldn't perform at SoFi Stadium in Inglewood, CA on the last leg of his tour in 2022 because he lost his voice. It's an important piece of Hurry Up Tomorrow but as a brief skit, it can't stand on its own.
21 Until We're Skin & Bones
Track 5 – 0:22
Another short bridge track arrives in the first half of the album, transitioning the end of "São Paulo" into what sounds like an alternate reality before "Baptized In Fear" plays. The instrumental production is straight out of a sci-fi movie and the orchestration with a medley of synths is truly out of this world.
20 Big Sleep
Track 16 – 3:45
"Big Sleep" is one of the most sonically fascinating songs on the album. Its opening minute borders on psychedelic like something out of Mac Miller's Balloonerism. It's a slow, eerie song that sounds like the background music for walking through the gates of Hell. Production and vocals are some of the best on the album, creating an unsettling soundscape that feels like something undead has risen.
19 São Paulo (feat. Anitta)
Track 4 – 5:02
This track divided fans when it was released as a single and still feels somewhat out of place on Hurry Up Tomorrow despite being a "banger" featuring Brazillian superstar Anitta. The right mood and setting would make this one of the go-to tracks on the album, which is likely why it's included. It offers a refuge from the mostly dark and nightmarish other songs.
18 Drive
Track 18 – 3:09
"Drive" is a simple, broken-down track that exemplifies a feeling of escape and longing as the world falls down around you. The Weeknd pleads for the thrilling peace that comes with hitting the road and having no destination, shedding all responsibility and finding bliss with a Bonnie in his passenger seat to match his Clyde.
17 Give Me Mercy
Track 17 – 3:36
While the general production of Hurry Up Tomorrow is unparalleled and completely immersive, "Give Me Mercy" has one of the more unique and experimental beats. Sounding like a hidden track on a 1980s Toto or Phill Collins album, "Give Me Mercy" showcases what The Weeknd does best, blending an upbeat tempo with heartfelt lyrics.
16 Enjoy The Show (feat. Future)
Track 10 – 5:01
One of many collaborations between The Weeknd and Future, "Enjoy the Show" is strong but doesn't scratch the surface of the duo's all-time best, like "Low Life" or even "Coming Out Strong". Future courageously meets The Weeknd where he's at, singing with little to no autotune before dropping some signature bars. "Enjoy the Show" is more atmospheric and reserved than what some would expect from a Future and The Weekend link-up.
15 Take Me Back To LA
Track 15 – 4:14
An apparent response to After Hours' "Escape from LA", The Weeknd revisits an old relationship on "Take Me Back To LA", relaxing that it's better when he's by himself. A deeply nostalgic song, "Take Me Back To LA" is a self-assuring track in which Abel realizes what he does and doesn't want. Most of all, he wants to be in touch with his soul again, a common theme in many of the Hurry Up Tomorrow songs.
14 Cry For Me
Track 2 – 3:44
The production on "Cry For Me" is beautifully strange, making a great early track on the album that will only become more volatile over its 85-minute runtime. One of the more replayable tracks on the album, the beat build on "Cry For Me" has a satisfying payoff. The song as a whole doesn't take a breath, pulling the listener into the world of Hurry Up Tomorrow.
13 I Can't Wait To Get There
Track 12 – 3:09
It sounds like The Weeknd is doing his best Bruno Mars impression over a Tyler, the Creator beat on "I Can't Wait To Get There", one of the easiest-listening tracks on the album. As the beginning track of Hurry Up Tomorrow's second half, arriving just before "Timeless", it's a can't-miss song that may have its highest replay value for those summertime cruises.
12 Red Terror
Track 20 – 3:52
Part of an epic 4-track run to close out the album, "Red Terror" sounds just like its title implies. Opening with an odd and dissonant arrangement of synths, The Weeknd sings to an unnamed child as if he is saying goodbye in a permanent sense. The outro instrumental is ominous and haunting as The Weeknd assures, "Deah is nothing at all, it does not count."
11 Opening Night
Track 8 – 1:36
If "Opening Night" was just a bit longer it would be one of the top 5 tracks on Hurry Up Tomorrow, easily. The heavy reverb on The Weeknd's vocals draws comparisons to Tame Impala, along with the tones of a telephone ringing that inspires flashbacks of the synth-heavy "Past Life" on Currents. It's truly a shame "Opening Night" couldn't hit at least 2 minutes but transitions well into "Refections Laughing".
10 Given Up On Me
Track 11 – 5:55
The nearly 6-minute long "Given Up On Me" has the wildest beat change on the album. Its opening few minutes are some of the best on the album as Abel spirals in a bout of insecurity and self-doubt. Mike Dean and Metro Boomin both produced the track, making it an immediate standout even if its beat switch is somewhat abrupt and disjointed.
9 Reflections Laughing (feat. Florence + The Machine & Travis Scott)
Track 9 – 4:51
Travis Scott lends his vocals and production talents on the eerie "Reflections Laughing" which opens with a near Western-like acoustic guitar. The song is one of the most cinematic on Hurry Up Tomorrow, and Trav's bars are dropped an octave or two to enhance a sense of trippy mysticism heard throughout.
8 Niagara Falls
Track 14 – 4:37
"Niagara Falls" grows on listeners after the first listen and eventually becomes one of the easiest songs to revisit. Nearly sounding like a 2010s Drake instrumental, "Niagara Falls" is one of the more accessible tracks on the album that is a low-key love song at its core.
7 Without a Warning
Track 21 – 4:58
The build on "Without a Warning" is what The Weeknd is all about and feels like the true conclusion of the album, despite being the penultimate track. No other song on Hurry Up Tomorrow captures the "tragic celebrity" persona as well as "Without a Warning", hitting on the overarching theme of the project in its final act as the curtains close.
6 Baptized In Fear
Track 6 – 3:52
"Baptized in Fear" has one of the most impactful lyrics on Hurry Up Tomorrow after its dark industrial intro that sounds right out of the Blade Runner universe. "Voices'll tell me that I should carry on" echoes throughout "Baptized in Fear" over some of the most deeply confessional lyrics on the album.
5 Open Hearts
Track 7 – 3:55
It feels wrong to not put "Open Hearts" after "Baptized in Fear" considering the two songs have the most seamless and satisfying transition on Hurry Up Tomorrow. Listening to "Baptized in Fear" and not listening to "Open Hearts" immediately afterward feels like it should be a crime. One of the pop-leaning singles, "Open Hearts" is a safe bet for all party and club playlists.
4 Hurry Up Tomorrow
Track 22 – 4:51
The title track finds The Weeknd absolving himself, or rather being absolved, from past sins mentioned throughout the album and the entire After Hours trilogy. The song is a traditional ballad that allows Abel to show off his magnificent voice while closing the book on the album, the trilogy, and maybe with The Weeknd, as he embraces Heaven.
3 Timeless
Track 13 – 4:16
The Pharrell-produced "Timeless" is just as addictive as it was when it was released as a single months before the release of Hurry Up Tomorrow. As he usually does, Playboy Carti steals the show on a feature that debuts all sorts of new voices and cadences. The song is, as its title suggests, truly timeless.
English (US) ·