If you’re on the hunt for an album that’s perfect for strutting and will make you feel like the coolest person in the room, look no further. Tate McRae’s newest release, “So Close to What,” empowers listeners to be their boldest and messiest selves.
Most known for hits like “greedy” and “exes” on her second studio album, “THINK LATER,” McRae gracefully grows into a certified pop princess in her third studio album released Feb. 21. The album, which primarily explores the tumultuous stages of her romantic relationships, is McRae’s most confident yet. She doesn’t hold back at all lyrically, even when a song might reveal her own imperfections. After one of the strongest years for pop music in recent memory, McRae steps up to the challenge and delivers a stellar collection of fiery songs.
The opening track, “Miss possessive,” delivers a contagiously sassy attitude that sets the tone for the album. The track begins with a feature from actress Sydney Sweeney, who brazenly says the line: “No, seriously, get your hands off my man.” Against the background of a booming bass, McRae fiercely warns a girl to keep her eyes off her man, putting her jealousy on full display. In “Signs,” McRae turns her sassiness toward her partner. Throughout the song, which has a great fast-paced melody, McRae is frustrated when her partner can’t understand the signals she’s sending him. She sings, “So take all my silences / And do your damn best to figure it out.” While unclear communication and possessiveness aren’t traditionally positive qualities, McRae owns them in style. In fact, she confidently embraces them, which lends itself to extremely catchy tunes that serve as perfect hype songs for listeners.
“Purple lace bra” stands out immediately as it opens with an epic orchestral string arrangement before returning to McRae’s signature early 2000s-esque pop sound. She showcases her full range of vocals — from vocal cries, to speak-singing, to breathy harmonies — creating a well-rounded and exciting listen. Besides being perhaps the most audibly interesting, McRae’s message here also rings clear. She sings, “I’m losin’ my mind ‘cause giving you head’s / The only time you think I got depth.” She begs to be truly listened to by her partner and by the media, yet laments that most people only focus on her when she sexualizes herself. This track’s emotional lyrics contrast nicely with the booming instrumentals and throaty vocals. McRae channels her frustration with people’s misconceptions of her into perhaps the best overall song on the record.
In addition to exploring this emotional depth, McRae is unafraid of entertaining a more casual relationship in “Sports car.” This track reminds listeners why McRae is so often compared to Y2K dirty pop icons Britney Spears and Christina Aguilera. She truly channels their messiness and freedom to be a little raunchy in this song. Dark and loud beats frame this track, which overtly explores McRae’s sexuality. Her low, whispered vocals really elevate the message of the piece while centering McRae’s desire for a casual relationship rather than a committed romantic one. Confidence is the key ingredient in this song, and McRae refuses to shy away from displaying hers. The piece is sensual, cheeky and undoubtedly a hit.
While many songs on the record are exceptional, others tend to blend together. “Like I do” and “bloodonmyhands” lack memorability, making them easy to skip over. Even though most songs deserve a plethora of praise, unfortunately the album falters a little in four or five lackluster tracks on the 16-song record. Still, the more forgettable tunes nicely fall in line with the wider theme of the album.
Without question, “So Close to What” is McRae’s most cohesive body of work to date. Each song flows seamlessly into the next, allowing the album as a whole to provide a distinct listening experience. In these lyrics, McRae feels like her most emboldened self yet, and the instrumentals play alongside her perfectly. This album is snappy, feisty and encourages listeners to embrace their inner diva.
Contact Skylar Boilard at [email protected].
