Tate McRae, a Gen Z artist like many of us listeners (and readers!), has cemented herself as an internet pop star most well known for her viral singles that blow up on social media. From “you broke me first” to “greedy,” her songs are perfect backdrops for flashy TikTok trends and edits. Her Y2K-inspired tracks with contemporary pop twists are easy on the ears, and her recent third studio album, “So Close to What,” is no exception. But while these songs are polished, catchy and are sure to blow up on the internet, McRae has failed to lean into her creative and artistic potential. I’m picking the eight most memorable songs off of the album to dive into why that is.

miss possessive:

Its instrumental is minimalist, letting McRae’s distinctive vocal timbre shine through. Love: the vocals in the pre-chorus — they’re catchy, seductive and whispery. As the chanty chorus approaches, the drum tone gets heavier to build subtle yet effective anticipation for the beat drop. But: this song doesn’t sound new. It feels uncreative and predictable, like she’s playing it safe. The song could pass as a standalone single to go viral on TikTok, so why release it in a whole studio album with all of this fanfare? The lyricism is catty and competitive, but there’s little depth and creativity in the song overall. 

revolving door:

Sonically, this track is one of my favorites on the album. Love: the warm, hazy dreamscape vibes it sets from the beginning, and the drawn-out, synthy chords lining the instrumental. Also, her recurring “I tried to call you off like a bad habit” is a fun line, quick to the point but still punchy. But: the track lives up to its name: it seems to go in circles, just like the relationship it describes, and never breaks free from that familiar pop pattern.

dear god:

“dear god” blends “miss possessive” with “revolving door.” Love: how McRae can switch easily in terms of vocal range in a short period of time, which satisfies the listener’s ears. She also provides a novel spin on romance and relationships: “dear god” centers around being so desperate to stop thinking about love that you’re praying to escape it. But: while it edges on vulnerability and rawer emotion, it feels restrained, with generic language such as “taking pleasure out [of] pain” feeling impersonal. Its production is sleek, but it doesn’t feel unique nor challenge the norm.

sports car:

Initially released as part of a set of singles, fans were able to wrap their heads around this song earlier and let it sit in their minds. Love: that this is a song that grows on you. At first listen, there’s an undercurrent of tension that frequently builds and releases, which compels the listener to come back and listen to it again. Plus, the production is slick and smooth, like its namesake flashy sports car. But: I think we’ve heard this one before. Two people in a car doing… mature things. Although, when the Chainsmokers sang about it, they chose a rover.

means i care:

So, shutting you out means I care even more? That’s an interesting take.Love: that the difficulty of finding communication and showing your true intentions to a love interest is relatable to many of her listeners. Additionally, the undercurrent of subtle, almost exotic influence — perhaps a reggaeton or Latin influence in the syncopated percussion — gives the soft melody a shift from the typical pop sound. But: the influence isn’t fully realized. The track feels like it’s attempting to bring in something fresh but goes back into familiar, palatable territory: it stays clean and repetitive instead of playing with key changes or a heavier instrumental. Unfortunately, it can’t fully commit to that exploratory sound. 

greenlight:

With this song, McRae’s harnessed that perfect midnight drive energy, which is apt for its title. Love: the gentle, cool-toned melody and soft vocals makes you feel like you’re actually driving past green lights as the stars twinkle down above you. But: even though pop in particular tends to be repetitive, the simplicity of the song accentuates its feeling of never-ending. It most definitely could be a stylistic choice to emphasize the recurring emotions of “waiting at the green light, to tell you what I feel like.” However, to some, it may feel boring after a bit.

2 hands: 

This is another track in the set of singles that effectively previewed the album. And after dwelling on it for a bit myself, I like it better than previous singles. Love: how it has that slightly aggressive, passionate edge, but doesn’t border on that whiny kind of sultry like “greedy” does. “2 hands” sounds more suave and full-bodied. Out of the album, I find this to be the most authentically new while still retaining that Tate McRae flair. But: “2 hands” is undoubtedly a mood piece; it gets you ready to sway to the beat and not much else. Instead of bringing a fresh new take to being in a relationship, she plays into that nonchalant, physical lover role that seems washed out — with less talk, more touch.

nostalgia:

I was so stoked to see a ballad on this album at long last! Love: the way the song does indeed convey nostalgia. With anecdotes and names interspersed throughout, it feels like a diary entry and carries more emotional depth than other tracks on the album do. Her tone of voice is especially fitting for ballads: it gives off the vibe of being the older sibling of “you broke me first” — obviously with a different message but maintaining that same bittersweet feeling. But: it’s hard to find the crescendo or climax in this song. This isn’t necessarily a make or break: not all ballads have to have that big release of emotional tension. However, there’s less vocal variety than you might expect from a song like this, which can give artists the opportunity to sing in a much wider range and take full advantage of their emotions.

Final words: 

Still relatively new on the full-length album front, Tate McRae continues to move in the right direction as she explores the complexities of balancing cohesion, depth and creativity in crafting her studio albums. Although it’s a bit redundant at times, it’s definitely a major upgrade from her sophomore album, “Think Later.” But that’s a story for another time. For now, let’s think about the other ways “So Close to What” can improve; maybe McRae will take notes for her next release to come.