Tate McRae’s third studio album “So Close to What” (SC2W) is a masterclass in navigating young adulthood under the glare of pop stardom. At first glance, its themes may seem deceptively simple — heartbreak, reinvention and the push-and-pull of self-identity — but McRae depicts them through a dynamic blend of reverberating synths, atmospheric electronics and raw, unfiltered vocal talent. This isn’t just her most polished work: it’s her best yet.
Few artists have stuck with me through the years, and even fewer have grown up alongside me. McRae is an exception. Before she was a pop star, she was a 15-year-old singing “One Day” at her piano in Calgary, Alberta for an online audience of just 5,000. Now she’s 21 (I’m about to be 20) and we have chased ourselves in so many different directions. While my future is still much more up in the air, she’s embraced her alter ego “Tatiana,” — who she describes as, “ballsy, so loud and obnoxious” — propelling herself into viral stardom with tracks like “Greedy” and “exes.” It’s been incredibly inspiring to watch her success as we’ve both grown up.
McRae’s first hit single, “you broke me first,” was a heartbreaker ballad released during quarantine, earning her the title of “Canadian Billie Eilish.” She shed that label with the debut of her first album “she’s all i wanna be,” which opted for upbeat punk energy, and continues to be my favorite McRae track. Even Drake name-checks her in his latest album as “SMALL-TOWN FAME” (and we all know how Drake feels about women). Her mix of prodigious dance talent and powerhouse vocals makes her a natural heir to the Y2K pop princess throne, even gaining her comparisons to Britney Spears. However, in an industry where reputation is everything, breaking out of a mold is harder than falling into one.
With “SC2W”, McRae doesn’t fight the expectations placed upon her; she leans into them. McRae has adopted an unconventional strategy of playing into her given affectations, and in doing so, she delivers an album that feels both self-aware and self-assured, a statement of exactly where she stands in the ever-evolving landscape of pop.
“SC2W” crafts a soundscape reminiscent of early 2000s Britney-esque pop, with tracks like “Sports car” and “It’s OK I’m OK” — both released as singles before the album was released. These songs are filled with dynamic dance-pop energy and serve as standout introductions for new listeners to explore her style and persona. The latter was one of McRae’s most anticipated releases, featuring a dance break that left me absolutely stunned as she unveiled it for the first time at Madison Square Garden — a moment I was lucky enough to witness live.
If any song truly encapsulates the album’s energy, it’s “Miss Possessive,” featuring Sydney Sweeney’s striking opening line and a rhythmic, sing-song pre-chorus. A defining feature of the track is the contrast between McRae’s breathy, whispered vocals and heavy electronic synths, creating an irresistible rhythm that makes listeners sway along.
“Revolving Door” explores the repetitiveness of choosing, not just in love but in other aspects of life, through the metaphor of a revolving door. The song starts off deceptively slow, but the tempo rapidly quickens, unveiling McRae’s struggles with indecision as she continues to “change my mind so much I can’t find it / I work so much, can’t be reminded.” The track also references a “night out in Boston,” a line that’s also featured in the title track of her “Think Later” album.
Then there’s “Purple Lace Bra,” one of the album’s more daring tracks that drips in sensuality. The lyrics leave little to the imagination, painting vivid imagery of desire and entanglement. McRae embodies the femme fatale. Her breathy delivery heightens the song’s seductive energy, lulling listeners into her world. But just as the chorus turns, the façade cracks. In a moment of lyrical brilliance, she delivers the lyric: “I’m losing my mind ‘cause giving you head’s / the only time you think I’ve got depth.” Vulnerability is laid bare; beneath the seduction, beneath the sex, there’s fear. Fear of being used, of being reduced to something surface-level. By the time we return to the chorus, there’s a lingering sadness in her voice, making the track all the more haunting.
Of course, not every song demands intense admiration. Tracks like “2 Hands”, “Means I Care” and “Signs” are solid additions, and while they serve as strong introductions to McRae’s persona, they don’t quite reach the same heights as the rest of the album lyrically.
She closes “SC2W” with “Nostalgia,” a track where she fully steps into her role as a songwriter. Stripped down with a slow tempo, delicate guitar strums and her signature airy vocals, the song aches with a longing reminiscent of her older music.
Here, we get a rare glimpse into McRae’s personal life. It’s a moment of stillness, a pause in an album otherwise charged with eclectic movement, and it lingers long after the last note fades. Long gone are the days of hallway crushes and staring at boys. Instead, she delivers a lyrical gut punch: “Funny thing about nostalgia / Didn’t show up ‘til I lost ya.” The track doesn’t just capture the ache of looking back, it embodies the way time slips through our fingers.
By far, the standout track on the album is “Greenlight,” which captures the struggle of wanting to move on while still feeling tethered to the past. Wrapped in an evolving house-style beat, the lyrics navigate self-doubt and the tension between seeking closure and holding on. McRae showcases her vocal prowess once again against layered percussion, urging listeners to trust themselves and take that leap of faith.
“So Close to What” isn’t just an album — it’s an ode to young adulthood. Its contradictions, its recklessness and its aching vulnerability. This is music that only a 21-year-old could create. Caught between self-discovery and nostalgia, between the fear of letting go and the thrill of moving forward, as she continues to evolve, one thing is clear: McRae isn’t just stepping into pop stardom. She’s sprinting, and we’ll all be listening.
