For over a decade now, The Weeknd has been at the pinnacle of auditory storytelling, evolving from the dark, shadowy figure of “House of Balloons” to the larger-than-life superstar pop icon shown in records such as “After Hours” and “Dawn FM”. With his latest, and allegedly final record under the moniker of The Weeknd, “Hurry Up Tomorrow,” Abel Tesfaye spins an 84-minute long epic of love and self-destruction. Despite its overall strong performance, the 2025 record lacks the standout tracks and replay value that were so present in his past works. Many songs blend together, making a cohesively cinematic experience that is ultimately lacking in distinction.

The album’s opening track, “Wake Me Up,” lays a strong foundation with its dramatic, movie-like build-up, starting slow and melancholic before exploding into a loud, lifelike sound, like the climax of a thriller movie. While the production on this song is cinematic and grandiose, it fails to be truly memorable outside of the enjoyment provided while listening.

Up next is “Cry For Me,” a slow-burning, atmospheric track that relies heavily on repetition to survive. Although the song is highly compelling and filled to the brim with atmosphere, it fails to fully live up to its potential, sounding reminiscent of “Starboy” but without the same level of polish. “Sao Paulo,” on the other hand, is a clear standout within the album, blending a phonk-like sound with highly stimulating energy from both The Weeknd and his featured artist, Anitta, that separates the song from the rest of the tracklist.

“Baptized in Fear” is almost a callback to the moody atmosphere of The Weeknd’s early work. However, the song takes some time to gain momentum. The album then hits one of its high points with “Open Hearts,” an energy-infused and euphoric track about heartbreak with its synthy chorus and hard-hitting bars, such as “I can hear the wind blow, even through the window/I can hear the whisper, even with my ears closed.”

The following track, “Opening Night,” however, returns to normalcy, lacking any defining moments despite the dreamlike space it leans heavily into. This more mediocre track is then followed by one of the record’s strongest. “Reflections Laughing,” featuring Travis Scott and Florence + The Machine, constantly changes up its sound throughout its runtime, filled with haunting vocals from all three artists.

“Enjoy The Show” is musically and lyrically one of the strongest in the album. Filled with beautiful verses from both Abel and

Future, the song is mesmerizing, and its production flows through listeners’ ears like water. The following track, “Given Up On Me,” is filled with nostalgia in its first half but contains a heavily uneven transition into the latter section. This song is where the album’s glaring flaws start to show: while competent, much of it feels indistinct and lacks replayability.

As the album progresses, it showcases Tesfaye’s versatility, moving from cinematic ballads to bouncy, club-ready tracks. “I Can’t Wait To Get There” brings an infectious energy, its catchy and soulful heart beating throughout. “Timeless” embodies its name with a sweeping, grandiose production but still lacks the impact of The Weeknd’s past anthems despite being a headlining single. Tracks like “Niagara Falls” and “Take Me Back to LA” highlight his ability to blend electronic influences with his signature style, though their extended runtimes make them feel bloated. “Big Sleep,” featuring production from electronic legend Giorgio Moroder, stands out as one of the more memorable moments, sounding more like a movie than a song. However, even it isn’t cause for returning to the album after an initial listen.

“Give Me Mercy” is the emotional core of the album, delivering one of The Weeknd’s most vulnerable vocal performances to date with lines such as “Hoping that it’s worth all the bleeding/When I’m defeated/Give me mercy like you do and forgive me like you do/Hope that you see me, when I’m depletеd.” However, as the album reaches its final stretch, its sound slips back into unremarkability. “Drive” is a solid, if somewhat predictable, late-game entry, while “The Abyss” and “Red Terror” struggle to be any more than blips in the minds of listeners. The album closes with “Without a Warning” and “Hurry Up Tomorrow,” two tracks encapsulating the overarching themes of reckoning and redemption, bringing the project to a fittingly cinematic end. Yet, even in its closing moments, the album doesn’t quite land with the emotional weight one might expect from someone’s so-called final record.

While “Hurry Up Tomorrow” is by no means a bad record, its biggest flaw, as stated, is its lack of any truly standout moments. It’s a well-produced, competent album, but few tracks demand a return listen. Many of the songs sound too similar, blending into one another in a way that makes them hard to distinguish. The Weeknd’s final project delivers an experience that is immersive but not entirely unforgettable. It has the hallmarks of his signature sound but doesn’t leave as strong a mark as his past works. Overall, “Hurry Up Tomorrow” is undoubtedly a The Weeknd album, but it is certainly not one he will be remembered for.