So Close To What by Tate McRae: Album Review
Teasing So Close To What and the Singles:
When Tate McRae dropped her peep show-inspired music video for “Sports car,” I had one thought: early 2000s provocative pop is back, and I’m here for it. The video, shot in just one day, features McRae in 12 different looks, dancing through a series of intricately themed rooms. She shared behind-the-scenes insights on Instagram, and it’s clear every frame was meticulously planned.
But it’s not just the risqué lyrics and striking visuals that hooked me. Another pre-released single, “2 hands,” arrived in November 2024 with a music video drenched in motorsport imagery: Papaya-colored McLarens, driver fire suits, and, of all things, milk. As a huge motorsport fan, I couldn’t help but appreciate the thought and research behind these details. The timing couldn’t have been better: in 2024, McLaren Racing clinched the World Constructors’ Championship in Formula 1, while Lando Norris finished as runner-up in the World Drivers’ Championship. Norris himself even engaged with the album’s rollout, commenting on a TikTok of McRae cruising around in a McLaren-branded toy car. And that milk that loads of non-motorsport fans were confused about? A subtle nod to an Indy 500 tradition, where winners celebrate in Victory Lane with bottles of milk.
The album’s third single, “It’s ok I’m ok,” was the first to debut with a music video, in September 2024. From the outfits to the choreography, the lyrics to the vocals, and the overall creative direction, McRae proves she’s the full pop-star package—and I’m not the only one obsessed. The YouTube comment section is filled with fans raving about her talent, praising her dedication to choreography (“she definitely puts in more work than any other artist”) and calling for her to get the recognition she deserves (“give this girl her 10s” and a Grammy, already).
After listening to the album in full, I completely agree.
Post-Album Release Songs and Visuals
So Close To What starts with the high-energy track “Miss Possessive,” a fun, beat-heavy song about a girl who won’t leave your man alone. The catchy repetition and breakbeat make it an instant hit. Then, it turns into themes of longing and emotional entrapment in “Revolving door,” which explores the frustration of returning to feelings of a past relationship. The music video, released with the album, visually emphasizes the song's message. In the video, McRae is quite literally left behind by her dancers and forced to perform by herself, symbolizing the cycle of being stuck in her feelings. As the song finishes, she cries and curls into a ball before asking “Again?” and striking back into her first position, stuck performing the song over, and over.
The album also delivers strong anthems of self-empowerment, such as “bloodonmyhands” featuring Flo Milli. This track bleeds in confidence, and Flo Milli’s verse, highlighting lyrics like “I’m pretty and worth it,” elevates its message of bouncing back from heartbreak. The next track, “Dear god,” is another beat-heavy song showcasing Tate’s raw vulnerability in wanting to forget the good moments of a past relationship. In contrast, a later track, “Means I care,” delves into the fear of letting people in. The contrast between self-protection and yearning for love as a recurring theme makes this album deeply relatable.
My favorite track, “Purple lace bra,” opens with dramatic strings and merges themes of sensuality and self-worth with the fear of being oversexualized, toeing the line between empowerment and objectification. McRae’s lyrics (“You only listen when I’m undressed”) and powerful vocal delivery make for a strikingly honest and emotional track. The song captures the universal desire to be truly heard and valued beyond appearances and sex, adding an emotional depth that resonates deeply with women everywhere.
Love and relationships take center stage in multiple tracks. “Signs” highlights the complexities of communication in relationships, and sometimes not meaning what you say (“Say, ‘I need space,’ don’t look at the door / ‘I hate you,’ means I need you more”). A standout moment for me was the key switch at the end, which punches you right in the gut with the need to be understood. “I know love” featuring The Kid LAROI, McRae’s real-life boyfriend, offers a romantic perspective on love, with lyrics comparing love’s intoxication to being “a little like drugs.” Meanwhile, “No I’m not in love” portrays the internal battle of denying one’s true feelings, capturing the struggle of trying to resist emotions that are too strong to ignore.
I love the confident track “Like I do,” which addresses the frustration of someone imitating her and eventually losing trust in them. The song’s spoken interlude was perfect, adding a playful and sassy edge. In contrast, a less playful and more emotional “Greenlight” highlights the struggle of moving forward while feeling emotionally stuck.
The album closes on a poignant note with “Nostalgia,” an acoustic guitar-driven reflection on the passage of time. Lyrics like, "Oh, where does the time go?” serve as a tenderhearted conclusion, leaving me with a bittersweet feeling of growth, change, and impermanence.
Personally, So Close To What is my favorite album in Tate’s discography so far. It perfectly balances infectious, early 2000s-inspired beats and provocative storytelling, as heard in “Sports car,” with the raw vulnerability of tracks like “Revolving door” and “Nostalgia.” With its mix of confidence, heartache, and self-reflection, this album offers something for everyone, whether you're looking for a song to dance to or one that hits right in the feels.