Atwood Magazine's contributors delve into the storytelling and musical artistry of 'Hurry Up Tomorrow,' The Weeknd’s sixth studio album and the concluding chapter of his recent album trilogy – one that might also signify the end of Abel Tesfaye’s era under his renowned alias. Featured writers from Atwood include Bárbara Mtz, Josh Weiner, Juls Patterson, and Lauren Turner!
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To begin, how does each of you relate to The Weeknd’s music?
Josh Weiner: I’ve been a fan for roughly 10 years. I recall hearing “Can’t Feel My Face” on the radio back in 2015, along with other hits like “Love Me Harder” and “The Hills.” Since then, I’ve consistently enjoyed his music and was fortunate to see him perform live during the After Dawn Tour in Chicago in 2022—his performance of “Blinding Lights” was an unforgettable highlight!
Juls Patterson: I was quite young when House of Balloons was released—still learning to write in cursive at the time. However, I discovered him through Tumblr during its peak when I was in middle school. Even if I didn’t fully grasp his themes, I found his references relatable. The samples from Beach House and Siouxsie Sioux in my favorite tracks, “House Of Balloons/Glass Table Girls” and “The Party & The After Party,” helped me appreciate his influences and the context of his work. Since then, regardless of my musical taste, I make it a point to listen to his new releases.
Bárbara Mtz: I first encountered The Weeknd’s music with his second album, Beauty Behind the Madness. The popularity of tracks like “Can’t Feel My Face” and “Earned It” from Fifty Shades of Grey marked his emergence for me. With the release of Starboy, he solidified his place as one of my go-to artists. His blend of R&B and synthwave resonates with me, given my love for electronic and synth-pop genres. I attended the After Hours til Dawn Tour, and his live vocal performance, imaginative set design, and genre experimentation truly impressed me.
Lauren Turner: My connection to The Weeknd's music dates back a decade as well. I remember first hearing “Wicked Games” in high school and being curious about the artist. By the time Beauty Behind The Madness was released, I was a devoted fan, and it came out during my junior year of high school when everyone was obsessed with it. “The Hills,” “Can’t Feel My Face,” and “Earned It” dominated the airwaves. I particularly fell for “Dark Times” and “Angel,” which fueled my anticipation for his future work, and he never failed to astonish me.
What are your initial thoughts and feelings towards Hurry Up Tomorrow?
Juls: I have mixed emotions about album trilogies, which is somewhat ironic given my fandom for The Weeknd. Pulling off a trilogy can be tricky without it becoming stale. Balancing three distinct projects while maintaining sonic cohesion can lead to feelings of redundancy. This was my main concern going into Hurry Up Tomorrow. It feels somewhat bloated, with a much stronger second half; my first listen left me anxious that I might dislike it entirely. Nonetheless, the production is tight, and there are some major hits. I appreciate Tesfaye's deep connection to his narrative in this record, but at times, it hindered him from editing out some excess. I loved the standout moments, but some parts really dragged.
Bárbara: I anticipated that as a conclusion to the trilogy, it would provide a satisfactory and potentially impressive farewell. I expected familiar sounds, yet I couldn't say it felt like a rehash of past material. Once again, he showcased his experimental nature, exploring a diverse range of genres from Brazilian funk to pop. I was particularly pleased with the collaborations, featuring artists like Florence and the Machine, Lana Del Rey, and Travis Scott, which added excitement to the tracklist.
Josh: My initial reaction was: “Wow, 84 minutes? That’s quite lengthy for an LP!” However, after listening to the album in three segments, I found that the length wasn’t as intimidating as I anticipated; it’s an entertaining and energetic listen that flies by. It’s impressive to see The Weeknd maintain such a high level of consistency throughout his extensive body of work.
Lauren: I usually listen to new albums in full, song by song, in order. My experience with Hurry Up Tomorrow had been unique and immersive. At times, I found myself dancing in the kitchen, getting swept up in transitions, and even tearing up at the lyrics. The artistry reflects a depth I could discuss endlessly, highlighting how much effort he invested in this project. Hurry Up Tomorrow warrants extensive dissection and study, demonstrating the significance of an artist's work, regardless of personal attraction to it. I agree with Josh; despite
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Writers at Atwood Magazine delve into the narrative and musical composition of ‘Hurry Up Tomorrow,’ The Weeknd’s sixth album and the culminating chapter of his latest trilogy – one that could signify the conclusion of Abel Tesfaye’s time using his renowned stage name.