After rising to stardom with the release of her chart-topping single “you broke me first” in 2020 to her hit album “Think Later” in 2023, Tate McRae, a 21-year-old Canadian singer, encompasses everything it takes to be a performer: unique vocals, stellar song-writing and incredible dancing.
With the release of her latest album “So Close to What” on Feb. 21, McRae is ready to take the world by storm. While many of her past songs convey feelings of sadness, “So Close to What” channels McRae’s alter ego – a confident and sultry personality. Lasting 42 minutes and 34 seconds, the album includes 15 tracks, ranging from dirty-pop hits to vulnerable songs, proving that McRae always has a variety to offer. In addition, a bonus track “Siren sounds” was added three days after the initial release.
The opening track on the album “Miss possessive,” also the name of her upcoming world tour which starts Mar. 18, starts the record off with a bang. “Miss possessive” is a bass heavy, Y2K- inspired song with sleek, modern production that is common throughout this album. The powerful vocals transitioning to breathy tones set the scene for many of her upcoming tracks, which feature the same whisper-sounding melodies.
Like “Miss possessive,” “Sports car,” “It’s ok I’m ok” and “Like I do” on the album radiate the same infectious, self-confident energy with electrifying beats that attract the listener in from the start. Taking inspiration from 2000’s pop, the most memorable parts of “Sports car,” my favorite song, are its flashy introduction and soft, seductive chorus. The occasional background whispers complement McRae’s vocals, making the song feel more intimate.
On the other hand, “It’s ok I’m ok,” explores McRae’s feelings towards her ex’s new girlfriend, claiming that the other girl can have him and that she doesn’t want him anyway. Once again, this song exudes independence and self-confidence while providing a fast-paced beat like many of McRae’s songs. “Like I do” also provides the same self-confident energy as McRae blends her frustration with another girl who is “praying on her downfall” and her confidence in herself to create an incredibly catchy song with soft vocals and R&B influences.
While the three earlier tracks display McRae’s confident personality, “Dear god,” “Revolving door,” “No I’m not in love” and “Greenlight” examine the complexities of relationships, especially ones that keep McRae in a chokehold. “Dear god,” my third favorite song, revolves around a relationship that McRae cannot seem to forget no matter how much she tries to move on, which can be relatable for many listeners. The song immediately starts with quiet vocals, creating a catchy but immersive experience throughout. “Greenlight” also focuses on not being able to escape the memories of a past relationship. The song has vivid imagery and metaphors that showcase the difficulty of moving on and her unhealed wounds.
“Revolving door,” my second favorite song on the album, describes a relationship that McRae keeps returning to despite wanting to leave. The enunciation of “door” in the catchy chorus scratches my brain in the best possible way, and the breathy pre-chorus makes for a smooth transition. In addition, the song comments on McRae’s never ending work cycle where she can not seem to catch a break. Opposite to “Revolving door,” “No I’m not in love” centers around denial and not wanting to enter into a relationship at all. The post-chorus has a unique production where McRae’s voice spirals into high-pitched notes and finally finishes with strong vocals towards the end of the song.
“So Close to What” also explores the vulnerable parts of McRae, which reveals there is more to her than meets the eye. “Purple lace bra” showcases her inner struggles of not being heard because her partner only cares about her looks and outward image. According to McRae, this song represents the media scrutinizing women based on how they dress and act. The contrast between the introduction, which loudly signifies her hardships, to the soft melodious chorus, which questions if her partner can understand her, makes the song flow nicely. The violin instrumental in the background along with the harmonizing makes this one of the most musically unique on the album.
While “Signs” and “Means I care” have the classic upbeat tunes and beats that make up mainstream pop, they also have slightly toxic messages. “Signs,” specifically the lyric “So take all my silences and do your damn best to figure it out,” promotes miscommunication in a relationship. “Means I care” also showcases the same toxicity, with her lyrics stating “If I cut you off, it just means I care.” However, the integration of acoustic elements with the electronic beats and synth layers in “Signs” as well as the percussion components in “Means I care” make these no-skip songs.
Out of the 15 songs in the album, McRae has two songs which feature different artists. “bloodonmyhands (feat. Flo Milli)” has a strong foundation of robust drum patterns, synth layers and a prominent bass line, which makes it incredibly catchy. Flo Milli’s rap verse makes the track even more enjoyable and provides a nice variety in the middle of the song.
“I know love (feat. The Kid LAROI)” has stark percussion beats with melodic synth layers driving the flow of the song. Since McRae is dating The Kid LAROI, it is nice to see a song about being deeply in love compared to her other songs about trying to move on from past relationships. While the next song “2 hands” does not feature another artist, it is on the same topic of love languages and establishing a genuine connection. “2 hands” is similar to “Sports car” and “Miss possessive” in terms of incorporating electro pop beats and R&B influences.
Finally, the closing track “Nostalgia” deviates greatly from the signature sound of the album. The slower paced song with softer vocals and an acoustic guitar in the background makes it stand out, allowing her vocals to truly shine. While the first track begins the album off with a contemporary, powerful sound, “Nostalgia” reflects on the meaning of life and missed opportunities.
Overall, this album is an improvement from “Think Later,” specifically due to the experimental production and song styles. However, it’s worth noting that her enunciation in a few songs was unclear, and a few of the tracks had similar arrangements that oftentimes made the build up for the beat predictable. Despite those minor drawbacks, I recommend “So Close to What” to those who are fans of mainstream pop music, and this album proves to the pop industry that Tate McRae has what it takes to create a catchy and skip-free record.
