In the midst of a numbing, frigid winter, Tate McRae’s third studio album So Close to What has managed to kindle warmth. Since its release on Feb. 21, she introduced us to a new era of Tate. With 15 new songs for listeners to enjoy, each covering coming-of-age themes, she wowed us with her highly anticipated album.
Following the release of “It's ok I'm ok,” which topped Billboard's Hot Pop Songs chart, McRae launched “2 hands” and “Sports Car.” She set the bar incredibly high, and it’s safe to say the complete tracklist exceeded my expectations. So Close to What allows listeners to reminisce on the nostalgic sounds of the 2000s — some would say the golden age of pop — with a modern twist. She adds hints of R&B and some rap by featuring Flo Milli and The Kid LAROI.
McRae’s lyrics seamlessly complement Y2K melodies by reflecting on the past through a contemporary lens. In fact, this debut has earned her comparisons to the 2000s Queen of Pop herself, Britney Spears.
As she ventures from her teenage years into adulthood, the Canadian pop star highlights a transitional narrative. During these years, many await feeling contentment in their future — hence the album title, which symbolizes the journey of nearing self-actualization yet feeling stagnant.
McRae is always noted for her remarkably candid lyrics that challenge societal standards and allow young women and girls to connect with her writing. Her tracklist allows audiences to recognize how happiness is unfeasible without relinquishing the past and embracing the present. Through a lifelong journey that may feel infinite and exhausting, So Close to What is a blueprint for seeking self-love, romantic bliss and balance amid uncertainty.
The first song on queue, “Miss Possessive,” sets the tone for most of the tracks. The song strikingly starts with Sydney Sweeney’s quote, “No, seriously, get your hands off my man.” Lines like, “Yeah, I’ll be nice, up until I’m not” exude fierce femininity. She challenges traditional notions of womanhood and is willing to be aggressive and, quite frankly, feral if anyone stands in her way. In “bloodonmyhands,” she asserts, “And, boy, you forgot I got a lotta pride and choices,” which is a major shift from the line “You've got me addicted / And I can't tell who's keeping score” from her iconic 2020 song “that way.” While relatable, her classic hit showcases the wavering emotions of navigating the complexities of young love. Meanwhile, this album radiates an unconventional magnetic feminine energy, striking a balance between self-assurance and introspection.
McRae also authentically takes on vulnerable themes more dauntlessly than her past work. She thematically diverges from traditional breakup songs that often inspire girls to sulk rather than prioritize themselves. She even weaves more explicit and cheeky songs throughout the album, such as “Purple lace bra” and “Dear god.” With these tracks, she highlights the countercultural topic of feminine desire, while expressing personal struggles, emotional vulnerability and heartache.
Affirming her vulnerability, she features the song "I Know Love," a collaboration with her boyfriend, The Kid LAROI. Involving her boyfriend affirms the balance between vulnerably weaving her personal life into her music and exposing her emotional power. By the end of the tracklist, in “Greenlight,” she sings, “Guess I never healed right / Maybe it's a green light, but I can't go.” She maturely acknowledges her flaws and recognizes the reasons for her past romantic stagnancy. The last track, “Nostalgia,” is one of the only slow songs on the track, where she sings, “Could've been an architect / Now he's turned 60 and / Wonders where the big dream went” This emotional song leaves listeners in a reflective disposition. By sharing personal experience, she holistically captures the essence of being close to finding oneself amid a turbulent transition to adulthood.
Unfortunately, the demo of this album was leaked earlier in the year, leaving McRae with no control over the situation. As a testament to her personal growth since the beginning of her career, she added the songs “bloodonmyhands” and “Like I Do” to reclaim control over the situation. As a snarky clapback at the unsolicited release of her album, she posted a photo of herself laying by a star on Hollywood Boulevard where her official tracklist was written, wearing a shirt that said “LEAK THIS.”
Despite the repercussions of her demo’s leak, the mature handling of the situation and thematic shift in her music indicate a pivot in her career, exploring her femininity and shifting away from predominantly melancholy love songs. Through life’s ups and downs, she emerges from these immobilizing moments introspective, more powerful and willing to share her raw emotions, no matter how taboo. Her new focus is inspirational for young people looking toward understanding themselves and detaching from societal norms. It’s resoundingly clear that Tate McRae has found her voice and empowers her fanbase of young girls to do the same.
Ava Tafreshi is a freshman in the College of Arts and Sciences. She can be reached at ant63@cornell.edu.
