8/10
Just over a year after releasing her second album, THINK LATER, Canadian pop artist Tate McRae dropped So Close To What. The nostalgic and powerful project, which is already topping charts on Spotify and Apple Music, marks a shift from her signature sad-girl breakup pop to early 2000s-inspired anthems. She sings about struggles with the media as a 21-year-old star, challenges navigating falling in love again, and the excitement of intimacy, all with newfound confidence.
“Miss Possessive” opens the album with a playful, bouncy beat and a recording of actor Sydney Sweeney’s bold and sassy assertion: “No seriously, get your hands off my man,” she says. The song moves at a slow, controlled pace, with McRae’s smooth and assured vocals center stage—mixing Y2K-inspired production, crisp drum patterns, and a deep bassline with the expressive track. On the chorus, McRae shifts to a higher, more melodic note, creating a sensual vibe. “Look at the floor or ceiling / or anyone else you’re feeling / take home whoever walks in / just keep your eyes off him,” she sings. The repeated post-chorus grows into a danceable, fast-paced rhythm: “keep your eyes off,” McRae repeats, setting the tone for her dominance throughout the album.
Across the record, McRae is confident and bold. She expresses that self-worth comes from trusting your relationship, instead of being jealous and insecure. On lead single “It’s ok I’m ok,” released four months ahead of the full album, McRae embraces closure and independence rather than dwelling on loss. “It’s okay, I’m okay / You can have him anyway,” she sings, as she moves on from her ex, reflecting on past mistakes with newfound clarity. The track’s early 2000s influences mirror “Miss Possessive,” featuring a punchy baseline, sharp percussion, and an empowering chorus.
So Close To What is clearly influenced by early 2000s pop icons like Nelly Furtado, Christina Aguilera, and Britney Spears. The fun, anthemic tracks bring back the girl power of that era, making them nostalgic and catchy. However, at times they can feel unoriginal, almost like she’s copying the greats, blending the same sounds without adding a unique twist.
Co-written with Julia Micheals, Grant Boutin, and Ryan Tedder, “Sports Car” is inspired by the alluring feel of the 2005 song “Wait (The Whisper Song)” by the Ying Yang Twins. McRae’s melodic, airy pre-chorus builds anticipation before transitioning into the whispery, seductive chorus: “Yeah you know what this is,” she repeatedly teases, adding mystery and charm.
McRae connects the adrenaline of sex and relationships to the thrill of a sports car. Exploring intimacy for the first time in her music, McRae dives into lust, and the intoxicating pull of desire, fully embracing her “nasty girl pop” persona.
In the music video, McRae reclaims agency over herself, reflecting on the difficulties of fame and feeling like “you forget what you think and how you feel about things.” The video depicts self-perception and media scrutiny, with McRae watching 12 versions of herself, each with different outfits, props, and personalities, highlighting the tension between her true self and a curated public image.
McRae carries the weight of past pain as she hesitates to move forward on “Greenlight,” where she’s metaphorically unable to press the gas. Her breathy, soft vocals deliver emotional rawness contrasting with other tracks’ powerful moments. “Band-Aids and bullet holes don’t go / I can’t unhear shit I been told / Guess I never healed right / Maybe it’s a green light, but I can’t go,” McRae belts, capturing the inner conflict of wanting to move on but being unable to let go of the past. “Nostalgia” explores similar struggles of letting go of the past, as McRae reflects on missed opportunities and regret of time going by too quickly, while simultaneously fearing the future. “Shit, we got so close / hit me fast and slow / funny thing about nostalgia / didn’t show up ‘til I lost ya,” McRae sings in the slowest and most raw song on the album.
“bloodonmyhands” also grapples with her past and its complexities. Featuring American rapper Flo Milli, who is the epitome of girl power, McRae uses the pain of betrayal to fuel independence and empowerment, reclaiming her strength after heartbreak. “Dance like I can’t be bothered, know it kills you / Bounced back and found another, and he hates you,” McRae sings in a mix of pop, hip-hop, and catchy, emotional beats. “I’m pretty and worth it / My feelings ain’t hurtin’ / Won’t stay longer if it ain’t workin,’” Milli confidently raps.
“I know love,” featuring McRae’s current boyfriend The Kid LAROI, highlights the excitement of falling in love after heartbreak. The track brings a catchy, danceable feel, with a more lighthearted tone that builds upon McRae’s discography of failed romances and soft melancholy. “Yeah, I know love when it hits, when it feels like this / It’s a little like drugs with you,” she sings, embracing the thrill of new love. McRae also discusses her new love life on “2 hands,” which highlights her desire for real, physical connection over empty desires. “You ain’t gonna win with the jewelry / Don’t need the cute f*ckin’ names,” she sings.
So Close to What blends electronic dance beats, early 2000s-inspired influences, and emotional anthems, creating a dynamic album that mirrors McRae’s journey to confidence. Throughout the album, McRae explores her hesitations about falling in love again, evolving from songs about not being ready to embrace true love to finally acknowledging her feelings, highlighting her development as an artist and young woman. Though a few tracks may sound unoriginal, the album stands out as a pivotal moment in McRae’s continued rise to fame.
