Safe to say that on Nov. 14, Summer Walker is “Finally Over It” with the release of her third and final album in the “Over It” trilogy. After gaining massive popularity from “Over It” in 2019, the biggest debut album by a female R&B artist, Walker quickly became one of the genre’s defining voices. Her latest project brings collaborators like Anderson .Paak, Bryson Tiller, 21 Savage and Brent Faiyaz.

“Finally Over It” reflects on Walker’s vulnerable and consuming relationship with producer London on da Track, also known as London Tyler Holmes, who was the primary producer of “Over It.” While the two welcomed their daughter in 2021, the turbulence of their relationship spilled into Walker’s music, creating a project filled with raw lyrics fans immediately connected with. Still, she mentioned drawing additional inspiration from other past relationships and experiences.

Across its 18 tracks, “Finally Over It” uses a two-disc format to follow Walker’s emotional shift, with the discs’ titles, “For Better” and “For Worse,” reflecting this change. After being broken down by a past relationship, she turns to songs like “Robbed You (with Mariah the Scientist)” and “Situationship” to show how she pulls away, guarding herself from what once caused her pain. Tracks like “No” and “Go Girl (with Latto & Doja Cat)” mark a refreshing change as Walker reclaims her voice, refusing to shrink for anyone.

But naturally, she still drifts back into memory, and those moments become some of the album’s highlights. “Baby (with Chris Brown),” “Heart of a Woman” and “Give Me a Reason (with Bryson Tiller)” explore the closeness she once held onto, questioning whether loneliness alone should make her invite new relationships.

“1-800-Heartbreak (with Anderson .Paak)” breaks up the album’s mid-level tempo, with .Paak’s final minute of lyrical rap bringing a much-needed shift in pace. Meanwhile, “Give Me a Reason (with Bryson Tiller)” feels like a callback to Walker’s “Last Day of Summer” era of emotionally raw music, characterized by vulnerability and truth. It showcases the kind of transparency that day-one fans look for, even as the commercial polish of her newer releases blurs that original edge.

Tiller’s feature makes the track an instant standout, and any R&B lover can instantly pick up on his recognizable tone and moody production. Their collabs never fall short either, just like “Playing Games (extended version) (with Bryson Tiller)” from Walker’s “Over It” album.

Disc two marks the turning point in Walker’s internal conflict — the tug of war between real, unconditional love and the temptation of material comfort from men who can provide everything except genuine connection. “Baller (with GloRilla, Sexyy Red & Monaleo)” embodies this dilemma with lines like, “The closer I get to you / More trips and shoppin’ sprees / By givin’ me all you got / You’re all that captured me.”

But that choice brings its own kind of regret. Songs like “Don’t Make Me Do It/Tempted” and “Get Yo Boy (with 21 Savage)” sit in the quiet losses that come with choosing surface-level safety over someone who once truly cared. “Allegedly (with Teddy Swims)” ties these threads together, hinting at the faint possibility that she might let herself love again.

“Get Yo Boy (with 21 Savage)” is also a clear highlight. Her intro is smooth and the shift between verses, including a brief rap break, adds a sharper, more passionate tone. Walker’s collaborations with rap-focused artists bring some of the album’s best moments, blending R&B and rap in a way that changes the pace of her album.

Walker may be “Finally Over It,” but the album makes it clear her journey wasn’t simple or short. Still, with such a steady mid-tempo throughout, many tracks blur together as they start to sound almost interchangeable. Without the features from Anderson .Paak, GloRilla and 21 Savage, there would be far less movement in the album’s dynamics. Thankfully, their contributions shake up the pace just enough to keep the project from feeling too flat.

But with the album falling short of distinct standouts, and leaning more toward a commercial, pop-leaning R&B sound, it’s safe to say listeners might finally be over this trilogy, too.

Rating: 3/5