Nathan VanSteenkiste ‘26, Contributing Writer
Canadian-born singer, songwriter, and dancer Tate McRae is a fresh face in the new era of pop music, with songs like “greedy” and “exes” dominating social media and her seemingly impossible-to-pull-off dance moves and sharp choreography leaving fans starstruck. But does she have what it takes to be more than just a viral sensation and an incredible performer—can she become an “A-list,” global superstar?
McRae’s latest album, So Close to What, released on Feb. 21, is a promising sign that she will likely become a household name, as it transcends being a fun, innocent dance-pop record, presenting itself as a complex project that shows her depth as an artist, establishes her sound, and has several insightful tracks. That said, at times, the album can feel repetitive and tired, especially towards the second half—its cohesiveness causes some tracks to fade into the background.
However, one aspect of this release that completely lacked cohesiveness was the rollout. Weeks before So Close to What was set to drop, several songs from the album leaked online, leaving McRae and her team in an awkward position. “Unfortunately, a lot of the album got leaked, which was a fu–ing bummer,” McRae said, adding, “I think that obviously makes you look at the project differently.” Hoping to take control of the situation that left her “devastated” and feeling “helpless,” she decided to record a few new tracks for the project, including “Like I do” and “bloodonmyhands” (feat. Flo Milli), scrapping some of the leaked material.
Unfortunately, the pre-sold digital copies and vinyl had already been produced, meaning the physical versions had an old tracklist, while platforms like Apple Music and Spotify had a different, revised one. A few days after the release, McRae made yet another change, issuing another digital version of the album, including a fan-favorite unreleased track from the never-released deluxe version of her previous album, THINK LATER, titled “Siren sounds.” This updated version of So Close to What also featured a reordered tracklist and an entirely different album cover—which McRae also changed on the original version of the album.
While fans appreciated the additions, many were perplexed by the decision to change the album cover and alter the tracklist post-release instead of finalizing them beforehand. Soon after, McRae switched up again, restoring the original cover on both digital editions. At just 21, McRae responded well to the leaks, leaning into them with her clever branding—like selling a “LEAK THIS” t-shirt on her website. However, her label, RCA, struggled to handle the situation effectively. They left McRae in a precarious position and did not help her make strong, consistent decisions, leading to upset, perplexed fans forced to follow along with the changes.
Despite the messy rollout, So Close to What is, by far and without a doubt, McRae’s best and most refined release yet. The era kicked off with two singles released in 2024, “It’s ok, I’m ok” and “2 hands,” both of which were lukewarmly received by the general public—though their music videos were quite popular due to McRae’s dance breaks. However, with her third single, “Sports car,” McRae did not just hit a home run—she crushed a bases-clearing grand slam. Reminiscent of peak Britney Spears mixed with the Pussycat Dolls’ “Buttons,” “Sports car” is a sultry masterpiece—arguably a career highlight. It follows her “not wanting to commit to a romantic relationship,” prioritizing her desire to live carefree “on the edge of sexuality,” according to Genuis.com.
Shockingly, it was not chosen as the lead single—had it been, it likely would have been an even bigger hit, as it is much more impressive and memorable than the first two singles. Still, “Sports car” is her second-fastest song to reach 100 million streams on Spotify at 36 days, peaking at number 11 on Apple Music Global as of Feb. 27, and spent multiple days in the top 10 on Spotify’s Top Songs chart (US).
Other standouts on the album include “Revolving door” and “Purple lace bra,” two songs that may appear to be about a relationship but are far more complex.
On “Revolving door,” the album’s upbeat, catchy fourth single, McRae explores a past relationship and her apparent addiction to being with someone she knows is unhealthy for her, despite her numerous attempts to call them off “like a bad habit,” she keeps coming back to them—trapped in an endless cycle. However, when delving into lyrics further, coupled with the music video, which was released just after the album, where McRae dances around in a room to intense, repetitive choreography, leaving her feeling stuck and helpless towards the end—evident through her sobs and emotion as she gets back up to start the routine over again—one realizes the song is also a commentary on performance and fame. She sings, “I work so much, can’t be reminded … Supposed to be on stage, but f*ck it, I need a minute,” expressing how she’s struggling with her work cycle and exponential rise to fame. Performing may tire McRae, as does the relationship she keeps returning to because they feel safe and familiar.
On “Purple lace bra,” McRae “wants to be heard,” taking whatever means necessary to do so—even if it means sexualizing herself (Genius.com). She writes, “You only listen when I’m undressed/Hear what you like and none of the rest,” explaining how the media’s prejudice misconstrues her confidence and empowerment, failing to take her seriously because she is a young, conventionally attractive woman. McRae expresses her disdain towards being objectified by people—venting that the media studies her for her features without listening to her. Though some people may interpret the song as being about an intimate relationship with a partner, it is is actually a commentary about questionable standards in the pop music industry, furthering her point that the only way to get attention in Hollywood is to draw it. When McRae was authentically herself, like on her debut album, i used to think i could fly, no one paid attention; “Purple lace bra” is McRae’s realization that sexualizing herself and doing things she is uncomfortable with is the only way to stand out in the current, corrupt industry.
Yet another bold, addictive earworm of a track, “Miss possessive,” explores McRae’s “jealousy, control, and emotional intensity” towards another woman trying to steal her man (Genius.com). Fittingly, actress Sydney Sweeney says in the intro to the song, “No seriously, get your hands off my man,” a clever and surprising, though welcome, collaboration.
“Nostalgia,” the closing track and only real ballad on the album, contains some of the best lyrics and storytelling on the whole project. The idea for the song came from a conversation McRae had with her father during her lost tour. “I felt like I was living in this, like, fear of the future, and living the future or the past and never ever the present,” McRae said. The song explores the complicated relationship one has with nostalgia and how people seemingly do not realize how special something can be until it is gone.
Some other highlights off the album include “I know love,” which she sings with her boyfriend, The Kid LAROI. It tells the story of their relationship and how they started as casual friends and eventually became much deeper and passionate, all while being an airy jam with a clever chorus that is quick to learn and perfect to dance to. With its ironic lyrics, on “No I’m not in love,” McRae attempts to convince the audience “she isn’t in love, despite her actions suggesting otherwise.” She sings, “Swear I’m only sleepin’ at your house/Six times in one week/’Cause it’s convenient,” denying that she is not falling in love when she—clearly—is.
However, certain tracks, including “Like I do,” which sounds like a less-memorable song from SZA—someone who McRae has said she would love to collab with,—“Means I care,” and “2 hands” fail to live up to the rest of the album. While not bad songs, they lack some of the extra flair, energy, and creativity some of the rest of the record does. While upbeat and punchy, “2 hands,” a seemingly strong choice for a single—before the album came out—is now outshined by the remainder of So Close to What, and RCA should have pushed a different song instead. Frankly, “Siren sounds” should have been on the initial record over any of these three tracks.
Ultimately, So Close to What is certainly a step in the right direction for McRae. She has effectively developed a sound that fits her performance style, allowing her to captivate live audiences as she perfectly blends dance pop with technique, flexibility, and choreography. More than anything, it is a vivacious yet vulnerable journey into her life, including her qualms and desires. It juxtaposes confidence with uncertainty and youth. And it has several moments that are sneaky and clever. For example, “Purple lace bra,” in which she sings, “Would you hear me more if I whispered in your ear?” is directly followed by “Sports car,” where she whispers seductively during the chorus. Though assigning a ranking is challenging for any album, McRae’s third studio album is an iconic and, most importantly, fun pop record—and there is nothing wrong with that—that deserves an 88/100.
With So Close to What, McRae demonstrates that she is more than just a viral artist who gained notoriety due to TikTok; she is an artist honing her sound and has the potential to be an A-lister. McRae will embark on her Miss Possessive Stadium Tour later this year, stopping in Michigan on Aug. 16, Oct. 13, and Oct. 22.
So Close to What Ranking:
(Updated Digital Album)
- Sports car
- Miss possessive
- Revolving door
- Nostalgia
- Purple lace bra
- Siren sounds (bonus)
- I know love (feat. The Kid LAROI)
- No I’m not in love
- Signs
- bloodonmyhands (feat. Flo Milli)
- Dear god
- It’s ok I’m ok
- Greenlight
- Like I do
- 2 hands
- Means I care
Lyon Life 