Tate McRae’s third studio album, So Close to What, released in February 2025, is her boldest and most self-assured project yet. The Canadian pop star, once known for her confessional ballads and brooding energy, has traded in the melancholic for something far more playful—and it works. Across twelve tracks, McRae channels the irresistible energy of early 2000s pop while layering in a sharp sense of self-awareness and a distinctly modern edge. It’s glossy, sultry, and unashamedly fun.
The album kicks off with "Miss Possessive," a biting, hook-heavy anthem that sets the tone immediately. McRae’s breathy vocals glide over a throbbing bass line as she delivers lines like, “No, seriously, get your hands off my man.” It’s the kind of unapologetic attitude that calls back to the heyday of pop icons like Britney Spears and Christina Aguilera. But McRae doesn’t feel like she’s doing an imitation—this is her stepping into the pop vixen role on her own terms.
Lead single "It's OK I'm OK" strikes a more introspective chord, though it’s wrapped in upbeat production that makes it one of the album’s most infectious offerings. It’s a clever balancing act: a song about working through personal chaos that sounds like it belongs on a summer party playlist. There’s a breezy confidence in the way she delivers every line, reflecting her evolution not just as a singer, but as a storyteller.
"Sports Car" marks one of McRae’s more daring moments. A sultry slow-burner, the track flirts with themes of desire and control, drawing comparisons to the steamy collaborations of Timbaland and Nelly Furtado. The production is slick and minimal, leaving space for McRae to linger on every breath, every pause. It’s a standout moment that feels both risky and rewarding.
Collaboration-wise, So Close to What offers a few high-profile guest spots, with mixed results. "Blood on My Hands," featuring rapper Flo Milli, adds a hard-hitting hip-hop flair that contrasts nicely with McRae’s polished pop aesthetic. Flo Milli’s fiery verse injects energy, though at times it threatens to overshadow McRae herself. Then there’s "I Know Love," a duet with The Kid LAROI, which has all the makings of a personal, behind-the-curtain moment. But despite their real-life relationship, the chemistry here feels oddly muted—less like a passionate exchange and more like a carefully calculated collaboration.
Where the album really shines is in its solo moments, particularly on tracks like "Revolving Door" and "Purple Lace Bra." On the former, McRae examines the exhausting cycle of returning to an old flame, admitting with a sense of weary resignation, “I confess, I’m not that versatile.” It’s a raw, relatable moment that cuts through the high-gloss production. "Purple Lace Bra" digs even deeper, as McRae voices her frustrations with societal expectations, particularly around sexuality and image. Her vocals are stripped back, laying bare the emotional weight behind lyrics that speak to being seen as an object rather than a person.
The production across So Close to What is meticulously crafted. The beats hit hard when they need to, the melodies are sticky, and there’s a cohesiveness that makes the album feel like a singular vision. That said, the consistency occasionally borders on predictability. By the back half, some tracks bleed into one another, and you get the sense McRae is playing it safe with the formula that works rather than taking risks that might surprise listeners.
Still, there’s no denying that So Close to What is a major commercial win. The album debuted at number one on the Billboard 200, marking McRae’s first time topping the chart. It also hit number one in her home country of Canada, as well as Australia and New Zealand, solidifying her status as a global pop contender.
With the Miss Possessive Tour already selling out dates across North America, South America, and Europe, it’s clear McRae is embracing her role as a pop superstar. She’s no longer just the brooding teenager behind viral TikTok hits—she’s an artist who knows exactly who she is and what she wants to say. So Close to What may pay homage to the icons that came before her, but it also makes one thing clear: Tate McRae is in a league of her own now.
