Tate McRae’s So Close to What; Flashes of Brilliance, Shades of Repetition
Tate McRae’s third album, So Close to What, marks a noticeable evolution for the Canadian singer-songwriter. After the glossy but formulaic pop of Think Later, McRae refines her sound with rhythmic pop-R&B textures, hip-hop-inspired beats, and lyrics that lean into a more mature, sultry aesthetic. The shift is a smart one—her breathy vocals lend themselves naturally to the Y2K-inspired production that recalls the heyday of artists like Ciara and the Pussycat Dolls. With songwriting and production contributions from Ryan Tedder and Julia Michaels, McRae is clearly aiming for the next stage of her career.
The album kicks off with miss possessive, which sets the tone with its seductive, possessive energy, complete with a Sydney Sweeney voiceover. The song serves as a warning to any would-be competition, embodying a confident and almost menacing presence over a slick, bass-heavy beat. 2 hands, the album’s second single, plays with this same theme but adds a sample from Frank Ocean and layers of sirens and pounding drums to underscore its tale of materialism versus true connection.
At its best, So Close to What thrives on its bolder production choices. sports car, the album’s third single, is both playful and suggestive, with McRae’s delivery oscillating between teasing and commanding. Her voice drips with persuasion when she coos, “I think you know what this is,” over glitchy synths and grinding-gears rhythms. Meanwhile, revolving door, the album’s strongest moment, blends a swirling rave beat with lyrics about a toxic, on-again-off-again relationship. “I’m supposed to be an adult, but fuck it, I need a minute,” she confesses, capturing the album’s overarching theme of grappling with emotions that aren’t quite as put-together as they should be.
Collaborations offer some of the album’s more experimental moments. bloodonmyhands, featuring Flo Milli, skitters along a UK garage beat, while i know love, a duet with McRae’s boyfriend, The Kid LAROI, is a sweet and genuine moment among the otherwise high-energy tracks. It recounts their relationship with an earnestness that contrasts sharply with some of the album’s more guarded lyrics.
That said, So Close to What isn’t without its weak spots. signs is a forgettable entry that adds little to the album’s narrative, while nostalgia, despite its introspective attempt to examine time slipping away, leans on a generic melody and chorus. Even when McRae touches on deeper emotions, like in means i care and greenlight, there’s a lingering sense that she struggles to fully tap into the weight of these experiences.
Despite its occasional lack of variety, So Close to What signals a promising shift for McRae. She’s carving out a space that feels more distinct, moving away from the predictable pop tropes of her previous work and embracing a sound that suits her naturally. While she hasn’t fully mastered the depth that her influences—like Ariana Grande or Britney Spears—bring to their narratives, she has the raw talent to sell it. The album’s production is sleek, the hooks are undeniable, and the confident persona she embodies (off and on stage) makes it a compelling listen. With a bit more lyrical depth and sonic experimentation, McRae could elevate herself from pop star in transition to pop icon in her own right.
