Hurry Up Tomorrow: The Weeknd’s Final Tribute to his loyal XOs

Image Courtesy: WeRaveYou

On January 31st, Abel Tesfaye—more commonly known by his stage name “The Weeknd,” released his final album, Hurry Up Tomorrow, under the persona. The album is a symphony of diverse sounds, blending musical techniques he has adopted throughout his career, showcasing features from artists ranging from Lana Del Rey to Playboi Carti. The album also documents a story, building from his past two albums to create a trilogy consisting of the albums After Hours, Dawn FM, and now Hurry Up Tomorrow. But what does this album mean to his day-one fans? The self-proclaimed “XOs” have had a bittersweet reaction to the artist's departure from his persona. 

Image Courtesy: Playlistology

“The Weeknd” persona began in 2011 with his first mixtape, House of Balloons. The tape contains hits such as “House of Ballons / Glass Table Girls” and “The Morning,” catapulting him into a household name. He released two more hits within the same year: Thursday and Echoes of Silence. These initial projects for the young Tesfaye are the epitome of darkness, oozing tones of control, substance abuse, endless partying, and the essence of being trapped in a lifestyle. These songs and experiences are what establish The Weeknd as a persona—he is a dark partier, sleeps around, and gets numerous women hooked on his drugs of choice. Essentially, he is not someone to mess with unless you want to experience this alter ego within him. These heavy themes continued in 2013 with his first original album Kiss Land. This project documents his spiral into fame, abandonment of morals, and immersion of himself as “The Weeknd.” In the titular song “Kiss Land,” he lets his audience know exactly who he has become— no sign of return from his revamped persona. Lyrics such as "I mix it up with some alcohol, and I pour it up a shot” as well as “And I don’t got any friends, I got XO in my bloodwork” warn the audience that Abel and “The Weeknd” have merged—one cannot exist without the other as they both encompass his shifting identity. 

Image Courtesy: @theweekndhxouse via Instagram

In the past three studio albums released by The Weeknd, we can see an internal struggle with his persona and himself—the lifestyle of drugs and sex taking a toll on the man behind the music. In his first album of his final trilogy, After Hours, The Weeknd has experienced a heartbreak. In classic dark partier fashion, he spirals and overdoses, figuratively dying by the end of the album. The following project, Dawn FM, serves as a purgatory for his persona. He is awaiting his ultimate judgment, an almost torturous waiting period. In the album's titular track, he guides the listener through this purgatory with him, stating “It's time to walk into the light / And accept your fate with open arms.” In the final installment, we see a “rebirth” after The Weeknd’s death. Multiple songs on the album have soulful inspirations, symbolizing that The Weeknd has learned from his dangerous cycle of drugs and nightlife. Tracks such as “I Can’t Wait To Get There” feature a chorus of women, similar to a church choir in the background, as The Weeknd harmoniously awaits the next cycle of his career. Although this is his final rendition as “The Weeknd,” this rebirth-themed album assures the audience that Abel Tesfaye's music career is far from over. 

“XOs,” The Weeknd’s fanbase (including me) have had very mixed reactions to his final chapter. While we will miss his dark classics that could make anyone feel immersed in his universe, it is refreshing to see the beauty behind the madness move into something that reflects his present self rather than forcing himself to continue a personality that no longer resonates with his genuine identity. 

Strike Out, 

Writer: Sophie Palmer 

Editor: Emily Montorrayos 

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