Hurry Up Tomorrow: The Weeknd's Last Great Act?

When you listen to Hurry Up Tomorrow, The Weeknd's new album, something feels different. We're not just hearing music; it's the end of a journey that began with After Hours and Dawn FM, now heading toward an uncertain but fascinating horizon. Abel Tesfaye seeks to close a chapter, perhaps the last of his legendary era as The Weeknd, but he does so with a work that could be destined to become one of the best of 2025.

Fighting for a place in the "best of the year" lists in early January, when the musical offerings are overwhelming, is not for the faint of heart. However, Tesfaye's move isn't about daring; it's about certainty. He knows this album contains all the ingredients to endure, to leave a lasting impression. The music of Hurry Up Tomorrow isn't just for the moment: it's for eternity.

Hurry Up Tomorrow has the ability to captivate the listener from the first chord, but what really stands out is how Tesfaye has managed to assemble the best parts of his previous two albums' experiences into a masterpiece. Tesfaye's voice, now more mature, seems to invoke something ethereal, like a combination between Burial's nocturnal mystery and Michael Jackson's unmistakable presence.

Each song on this album seems designed to be heard in the stillness of night, when everything is suspended between the end of one day and the beginning of the next. Wake Me Up isn't just night music; it's a passage to the supernatural. Think Nicolas Cage running with plastic fangs in Vampire's Kiss... that's the atmosphere. An atmosphere enhanced by Justice's monumental arrangements, which somehow also bring back the essence of Michael Jackson's Thriller, an obvious nod and, at the same time, a deeper connection if we consider that MJ once wanted to make music with Kraftwerk and the result could have sounded like this.

Then comes Sao Paulo, an epic piece that explodes with energy, where Tesfaye joins the unstoppable Anitta. Together, they weave a track that moves like a high-speed train, difficult to stop. This collaboration doesn't just sound fresh; it has an overwhelming force, consolidating Sao Paulo as one of the album's great tracks.

Baptized In Fear is one of those songs that makes you stop and wonder what you're listening to. The presence of the extraordinary Daniel Lopatin (Oneohtrix Point Never) and "synthesizer god" Mike Dean is unmistakable, with a futuristic sound that could perfectly accompany a David Cronenberg film, based on a Frank Miller comic. This is the type of music that tests reality and transports you to a place where the line between possible and impossible blurs.

We can't help but imagine that this album could be the perfect soundtrack for Born Again, the upcoming Daredevil series. Or perhaps Tesfaye has something even bigger in mind: bringing his music to cinema, with a project that's already taking shape. The anticipation grows, and Hurry Up Tomorrow might be just the prelude to what's coming.

With Open Hearts, Tesfaye takes us back to the golden days of 80s music. The track reminds us of Phil Collins' Sussudio, but with a modern touch, fusing electronics, disco music, and his characteristic almost ethereal voice. It's one of those songs that, in its simplicity, manages to be extraordinary.

Tesfaye's collaboration with Travis Scott and Mike Dean on Reflections Laughing feels unique. The music is like a soundscape that unfolds in unexpected ways. Each chord seems to defy conventions, building an unpredictable atmosphere. And indeed, the influence of Mike Dean, one of today's best producers, is more noticeable than ever.

Mike Dean has worked with the best: Kanye West, Travis Scott... and now, The Weeknd. Hurry Up Tomorrow could be the work that establishes Dean as a giant in music production, with the synergy between him and Tesfaye reaching new heights. What once seemed like a dream in After Hours now feels like a tangible reality.

Timeless is another standout track, shining through its collaboration with Pharrell Williams. The union of these two talents could have remained an experiment, but what emerges from this collaboration is a song that takes the album's aesthetic to a completely new level.

What truly distinguishes Hurry Up Tomorrow is Tesfaye's ability to collaborate with an impressive range of musicians, creating a collective yet intimate work. Take Me Back to LA and Big Sleep are two devastating pieces that reflect the album's mastery. The first, with a vibe reminiscent of Giorgio Moroder's memorable Scarface soundtrack, and the second, with direct collaboration from Moroder himself, echoing the sounds of Daft Punk's Random Access Memories, a musical gem in line with Tesfaye's sound.

The Abyss is another hidden gem of the album, where Lana Del Rey's melancholic voice creates an atmosphere so dense you can almost touch it. The chemistry between Tesfaye, Scott, and Dean reaches its maximum expression here, making this song feel like the beating heart of the album.

Hurry Up Tomorrow has more than ever a cinematic character, as if each track told a story bigger than the music itself. It's impossible not to imagine how Hurry Up Tomorrow could come to life on the big screen, with Tesfaye taking his music to yet unknown territories.

Hurry Up Tomorrow is much more than just an album. It's a statement, a closure of a cycle with a level of excellence that few can achieve. Tesfaye and Dean have created something that will undoubtedly shape the future of music, and leaves us with the feeling that the best might be yet to come. This album, like the ending of a movie you don't want to end, remains etched in memory in an unforgettable way.