Although she is only 21, Tate McRae has been chasing pop stardom for almost a decade. Growing up as a social media star and well-known figure in the Canadian competitive dance space, Calgary Native is known for her incredible stage presence and world-class dancing on tour. This is McRae’s sixth year signed to RCA Records, and her third studio album, So Close to What, marks her first number-one album, dethroning fellow Canadians, Drake and PARTYNEXTDOOR.
So Close to What follows Tate’s typical pop girl formula established on her last album, pulling inspiration from Canadian pop music legends like Nelly Furtado and showcasing a much sexier side of her artistry. McRae has also highlighted her songwriting contributions on this record, as she has more credits than her last project, coupled with the work of industry powerhouses like Ryan Tedder and Amy Allen. Although there is plenty of room for McRae to grow as an artist in the future, there are some solid pop songs on this record that are sure to get you moving on the dance floor.
McRae’s excellent team (Led by manager Jeff Azoff, who also represents notable artists like Harry Styles and Lizzo) are giving her all the resources for a strong career rooted in the sounds of early 2000s pop. McRae’s work on this album is not overtly vulnerable or personal, which sets her apart from current pop girl leaders like Olivia Rodrigo and Gracie Abrams. So Close to What is at its best when making solid, catchy, raunchy radio hits. When it strays from this, as seen on the back half with tracks like “Nostalgia,” it loses its appeal. The strong pop bangers are epitomized by “Sports Car,” her third single on the album. This monster of a club-ready track is much more mature than her previous work, with a hot and whispered chorus that is immediately stuck in your head. It sounds straight out of 2003, although slightly derivative of The Pussycat Doll’s “Buttons.” “Sports Car” is Tate McRae at her most fun, sexy and interesting. It will make waves this summer, whether on TikTok with a new complicated dance trend or on her arena tour.
The intro to the album is the namesake of her tour, “Miss Possessive,” and recounts the jealousy that McRae feels while watching another girl show interest in her boyfriend, Australian rapper The Kid Laroi (who makes an appearance on the record for the track “I know love,” which is pretty solid). This song has a punchy narrative and character to it that is very relatable, as McRae toys with the jealousy perfectly without ever seeming too mean or off-putting and nails the intro with a cameo from actress, Sydney Sweeney, who tells us to “keep your hands off my man.” This track has a strong enough beat to make sure you want to dance the second it starts, but this Sasha-Fierce style alter ego hooks you into the album, even if it doesn’t grip you from head to toe.
This is a strong (and certainly popular) new album from Tate McRae. It does enough to take her career to the next level with its grown-up-bad-girl image and the scale of production, but there is certainly room to solidify her space in the mainstream pop world. With the current shift in popular music away from the “sad girl” phenomenon of the early 2020s towards fun and light recession pop, best coined by McRae’s obvious influence, Sabrina Carpenter, there is a call for more fun and jovial pop, which the highlights of this record achieve beautifully. With the team of good people around her, fans should be excited to see what Tate McRae has in store for us next, as she is ‘So Close’ to making her way to becoming a Britney-level full-package popstar.
