I’m So Over It: A Review of Summer Walker’s “Finally Over It (The Afterparty)”
Design by Christian Jones
BY Eleniz Cary
Never would I expect to see a recreation of Anna Nicole Smith and J. Howard Marshall’s 1994 wedding as cover art for an album, but alas, here we are. On November 14th, Summer Walker released her third album Finally Over It—this is the last installment in her Over It trilogy. The cover is a photo of Walker in a puffy white dress, holding a bouquet of white roses, alongside a wheelchair-bound elderly man. Flipping the controversial 1994 wedding on its side, the elderly man is wearing sunglasses with a beaming smile. The deluxe version of the album, Finally Over It (The Afterparty), released on November 19th, has 21 tracks and 13 features, leaving nine songs for Walker alone. The cover depicts the faux couple on a vespa, Walker flaunting her lacey undergarments eager to begin the honeymoon. On deluxe, Walker throws an afterparty with all of R&B’s most generic feature artists. Like yeah, it might be fun, but at a certain point you realize re-watching New Girl for the upteenth time would be more exciting.
When I first saw the tracklist with artists, I was shocked. Not shocked like I just discovered a new unreleased song from my favorite artist, but shocked like I just spent ten bucks on an iced coffee that ended up being 75% ice. There I was, skimming the list on November 14th, feeling a mediocre amount of excitement. These were the same names I saw when any mainstream R&B artist put out new stuff. I really shouldn’t have to say this, but I will anyways: features should add something to the song. A reminder for all the musicians reading this: having two people on the same track, doesn’t guarantee it will be twice as good.
My mixed emotions started with the album. The opening track, “Scars,” gave me high hopes and “Robbed You,” featuring Mariah the Scientist, confirmed them. These first two songs reminded me of SZA’s 2022 Snooze. The vocals on “Scars” are ethereal and the lyrics on “Robbed You” are cutthroat: “I should’ve known you weren’t standing on business/ If I waited for just another minute (oh)/ I would’ve been sinning (oh).” “Baller,” featuring GloRilla, Sexxy Red & Monaleo, spares no details on what these female artists look for in their sex lives. Track three, “No,” is reminiscent of late 90s R&B—specifically TLC’s “No Scrubs.” High in my personal ranking is track four, “Go Girl,” featuring Latto and Doja Cat. With lyrics like “My p*ssy, key to his whole world” and “Shape like a number eight/ titties real, look fake,” the trio declares it is female sexuality that sets men free, a notion upheld across the female rap genre. Walker’s lyrics cry out to listeners, begging them to recognize their worth and take a second look at their choice in romantic partners. A helpful sentiment, but not a new one.
Her lyrics are catchy and fun, but least of all unique: “Cause you want me slaving over a hot stove/ You want me ironing and folding your clothes/ You want me to cater to you.” We get it; patriarchy wants women in the home. The question is: does Walker get it? Track five is “Baby,” featuring Chris Brown. Brown was charged with felony assault in June 2009 after attacking his then-girlfriend, Rhianna. Exactly three years later he and Drake instigated a nightclub brawl which left eight people injured. In 2013, he committed four separate acts of assault (once against Frank Ocean over a parking spot!!), none of which resulted in jail stays longer than 48 hours. In 2015 he was investigated by officials from LA county, Las Vegas, and the Philippines. Over the next two years he was involved in five legal proceedings in which Brown was accused of physical assault and domestic violence. Between 2018 and 2024 Brown was accused on six different occasions of physical and sexual assault against women. In May 2025, he was charged with grievous bodily harm in Manchester, England. Brown is an international threat to everyone, including himself. So why is he on an album about bodily autonomy?
His presence undermines the message Walker has been making throughout her Over It trilogy. Each album communicates sentiments of female empowerment, especially bodily autonomy. This is evident on one of my favorite tracks, “Get Yo Boy,” where Walker and 21 Savage discuss homie hopping. Walker takes on the perspective of a woman who has been getting texts from her man’s friend. She says this friend has been “Picking up where you been fallin’ short/ Offering a little bit more and more/ Tryna put his foot up in the door/ Askin’ me why you let him treat you like that.” 21 Savage, who takes on the primary male perspective responds with the following: “You crossin’ the line, You bogus/ You talkin’ ’bout f*ckin’ my homies/ If you do that then he ain’t my brodie/ If I catch you, you know that it’s OV.” The exchange pushes listeners to recognize when they aren’t treated right by their partners, while simultaneously condemning affairs. Walker teases the possibility of having a side piece, which isn’t great, but who can blame her if she gets better treatment from her man’s friend? The whole fight is about getting to choose what to do with your own body. So, how does Walker expect her audience to find and explore sexual liberty when she has a Chris Brown-sized stain on her latest release? The whole album I felt myself looking for the slow and sensual R&B reverb introduced in her first album Last Day Of Summer. Instead, Finally Over It is another pop-rap album featuring mainstream artists. The evolution of her music is not a reflection of how much I like Walker, but rather an observation of the mainstream music landscape as a whole. Not to say I won’t be listening to the album, but I will definitely be using the repeat button for a select few and no more.