Tate McRae is The Pop Diva We Crave in ‘So Close To What’
Hot. Heavy. Enticing. Tate McRae has returned to claim the pop scene with her third studio album, the long-awaited So Close To What. A newfound pop bible, So Close To What is raw and unfiltered, a testament to McRae’s darkest secrets and highest successes. Deeply personal and sensual, McRae has outdone herself in both sound and expression with this album.
So Close To What reflects the human condition, from sexuality and love to toxicity and loathing. It’s grounded and self-assured, pulling on the strings of McRae’s tug-of-war battle with herself —a battle between confidence and vulnerability. She demands all control and attention, revealing true narratives and straying further from rumors and speculation.
“Miss Possessive” starts the album off on an incredibly high note. With a 2000s-esque rhythm, reminiscent of the Pussy Cat Dolls era, and a catchy chorus, McRae marks her territory both in her relationship and in the world of pop music. We are then thrown into “2 hands,” which was my favorite single released prior to the album’s release. McRae’s emphasis on visuals and performance enhances the tracks even further; it’s hard not to dance through the bridge of “2 hands” when the choreography is etched into your brain.
“Revolving Door” is a strong contender for McRae’s magnum opus. The captivating drum-and-bass beat and the sensitivity of the lyrics makes for a deeply moving listening experience, both physically and mentally. It’ll make you want to dance and weep simultaneously with lyrics like,“I’m more hurt than I would admit / Supposed to be an adult, but f*ck it, I need a minute.” The music video is especially a tearjerker, a choreography heavy endeavor that ultimately breaks down at the end. What began as a poised and strong dance slowly turned more unhinged and emotional throughout the video, ending with a sobbing McRae. While my top three favorite tracks from the album have changed frequently, “Revolving Door” remains in the number one spot.
“bloodonmyhands” with Flo Milli transports listeners from tearful bedrotting and sorrow to hot and sweaty nights out, devoid of any cares or inhibitions. The beat is infectious, moving your body with each listen; it’s a true earworm. Between the fun lyrics and the upbeat melodies, Flo Milli also offers an incredible feature, meshing seamlessly with the beat and adding more playfulness to the track. “bloodonmyhands” is undoubtedly a bad b*tch anthem for the girls who absolutely know their worth: “I’m pretty and worth it, my feelings ain’t hurting.”
“Dear god” was a track that I was more than excited to hear in its entirety. After the song was teased on McRae’s TikTok, I found myself counting down to this album release as I couldn’t wait any longer to hear the full version. I’m happy to report that “Dear god” surpassed all of my expectations; plagued by the haunting memories of a past relationship, McRae exposes herself both sexually and emotionally. “Dear god” is fervent and unguarded in the best way possible, making it one of the most relatable tracks.
Another notable track was “Purple lace bra.” On the surface, the song could be taken as a critique on relationships, with lyrics like,“Would you hear me more if I whispered in your ear?” However, in an interview with Jake Shane on the “Therapuss” podcast, McRae revealed that the track digs deeper.
With this song, McRae criticizes the media for the sexualization and criticism she receives. She bites back at the swirling misconceptions and rumors, pleading for understanding and recognition, which she only seems to receive in the form of objectification in the media. She feels seen — but never heard. The song likely calls back to the wildly popular music video for “It’s ok I’m ok,” which features McRae in purple lingerie and marked a new wave in her rise to fame.
It’s hard not to think of every track on the album as a favorite, but who else has “Sports car” in their discography? Released as a single nearly a month prior to the album release, “Sports car” became an instant classic. It's an addictive tune with a Nelly Furtado style beat and snappy lyrics. It’s full of sass and sexiness, giving listeners a sense of confidence; it’s the type of song that reaches out and grabs hold with its sultriness. But more than that, it’s also a great karaoke song — “We can uh-uh in it” is already one of the catchiest lyrics of this year.
On the other hand, McRae’s collaboration with The Kid LAROI “I know love” was absolutely heartwarming. Given that the two are currently in a relationship, the song was filled to the brim with affection and adoration, both present in their voices. It’s almost as if you could hear the fondness through your headphones, with the duo singing, “I know love when it hits, when it feels like this.” The duet demonstrated the strength and conviction of their relationship, a symbol akin to etching a heart in a tree.
“Like I do” swings and hits hard as a complementary track to “we’re not alike” from her sophomore album Think Later. Like its older sister, “Like I do” details the complexities sometimes found in women’s friendships and the ravenous jealousy that follows. It explains the struggles of having frenemies and the lack of faith that accompanies the phenomenon: “I don’t trust you, not at all.” McRae bites back at the wavering friendship and attitudes she receives, left speculating about the nature of the relationship, “I can't tell if you wanna kill me or if you wanna kiss me / And sometimes I'm flattered / But also, f*ck you.”
McRae ends the album on a solemn note with “Nostalgia.” The emotional, acoustic track is the type to spring tears and leave you with goosebumps. It’s evocative, a song about lost dreams and wishes in the personal and intimate realm. A perfect closer, McRae lays her cards on the table. It’s a feeling everyone experiences; Nostalgia seeps into your life when you least expect it, consuming your heart and mind until it feels unbearable. McRae expresses just that, ending a seemingly confident album on a vulnerable note: “I bite my tongue ten times a day / half swear to god, I might just pray.”
So Close To What is witty, poised and provocative. It’s a collection of stories seen through McRae’s eyes: a journey into her consciousness, with discoveries that seem personal and all too relatable. Through upbeat party anthems and sensitive ballads, McRae steps into a more sophisticated era, tailored by her own wants and desires. I’m not afraid to say that this album is one of the strongest pop records I’ve heard recently, and deserves all of the praise it receives. So Close To What, through its visuals and sound, marks a new and exciting dawn for McRae. World domination is imminent for this pop princess.
