For years, Summer Walker’s music catalog has emphasized depictions of female resilience, offering solace to a world full of “lover girls.” Now, the final installment of her Over It trilogy, Finally Over It, has arrived.
Over the last decade, through her mysterious studio confessionals, Walker has turned raw emotions into lyrics. The journey began with the anthem ‘Session 32,’ which echoed the battle between loving someone and putting aside pride. ‘Session 33’ later highlighted the importance of genuine connection over superficial gifts. These tracks, with their blend of angst, romance, and self-doubt, set to dreamy synths, 808 trap beats, and tense snares, established her signature Atlanta “trap-soul” sound and changed the R&B landscape. Crucially, ‘Session 34’ on Finally Over It marks a poignant lyrical pivot, discussing the irreparable damage of losing someone priceless. This shift immediately signals that this final chapter is meant to stand out.
Finally Over It is aptly divided into ‘For Better’ and ‘For Worse,’ echoing its wedding-themed cover. The artwork itself is a clear reference to Anna Nicole Smith’s 1994 wedding photo, where she tightly clasped her bouquet and her elderly billionaire groom’s hand. Walker, however, injects an Atlanta flair, subtly hinting at the transactional nature of love. Throughout her trilogy, she has used her music as an instrument for catharsis, calling out transgressions that might have left others broken. With this final installment, she moves past the “ride or die” mentality, signifying her retirement from the “lover girl” role and the establishment of healthier boundaries. The album explores cynicism in love and the stark choices that emerge when genuine connection feels unreachable, raising the eternal question: Do nice girls finish last? Walker answers this by presenting two perspectives: ‘For Better,’ where she honors her self-worth, and ‘For Worse,’ where she sacrifices passion for stability. Throughout, she skillfully weaves nostalgic feelings into every track, referencing R&B hits from previous decades through samples and interpolations.
The first half, ‘For Better,’ highlights her decision-making process in ending detrimental relationships. This section’s significance lies in showing that even the most damaged connections can provide an opportunity to blossom. The opener, ‘Scars,’ immediately establishes the theme of emotional boundaries and the difficulty of allowing someone to see pain and vulnerability. There is a noticeable shift in her view of estranged relationships, moving from angry declarations of betrayal to recognizing her own worth. This perspective culminates in ‘Robbed You,’ where she chooses to be the bigger person. In her boundary-setting anthem ‘No,’ she conveys her expectation of not being taken for granted, brilliantly referencing Beyoncé’s ‘Yes’ before switching to reject the gender-specific domestic relationship famously pledged in Destiny’s Child’s ‘Cater 2 U.’ ‘Go Girl’ delivers caption-worthy bars celebrating confidence and sexuality. Meanwhile, ‘Situationship’ addresses her frustration with mixed signals, and ‘Baby’ offers a glimpse of a healthier, idealistic dynamic focused on mutual devotion. Walker momentarily dips back into her old lover-girl ways with tracks like ‘Heart of a Woman’ and ‘Give Me a Reason,’ portraying a dynamic where two people don’t need each other but choose to stay together anyway. The retired lover girl gave us iconic wall-sliding tracks like ‘1-800-HEARTBREAK,’ expressing the woes of ending a relationship while still craving it, which finds a thematic sibling in ‘Constant B******.’*
In the second half, ‘For Worse,’ Walker recognizes that while peace may lack passion, it at least minimizes the risk of pain. The opener, ‘FMT,’ signals a major shift as she abandons her typical dating preferences. Giving up on unconditional love, she chooses a relationship prioritizing material comforts over passion, making it clear she is interested only in financially stable men. This stance is highlighted in the track ‘Baller,’ which cleverly interpolates Donny Hathaway and Roberta Flack’s duet ‘The Closer I Get To You.’ She further emphasizes her expectation of being catered to beyond the club scene in the seductive after-party track ‘Take Me Out This Club.’ In the Kanye-referenced ‘How Sway,’ she struggles to maintain her emotional barriers as unexpected feelings of love resurface. Yet, she quickly reminds listeners of her “savage” side in ‘Don’t Make Me Do It/Tempted,’ warning her partner not to push her back toward her “roster days.” ‘Get Yo Boy’ underscores the fragility of the male ego when betrayal occurs, specifically addressing the dynamic of a partner’s friend hitting on her. Tracks like ‘Number One’ and the after-party track ‘Drown In My Love’ celebrate being a priority and the undeniable passion within those relationships. ‘Stitch Me Up’ shows her seeking to heal old wounds, while ‘Allegedly’ hints at a renewed yearning for emotional vulnerability. Serving as the final “I do,” the album closer, ‘Finally Over It,’ offers a sense of peace. It confirms that despite the ups and downs, choosing oneself—in better or worse circumstances—is ultimately the best decision.
This final chapter of Finally Over It doesn’t stem from pain but from a place of strength, marking an era of shedding baggage and moving toward a better life. The album’s title is a testament to the journey: it completes a full circle, defining the hidden phases of young adulthood, establishing boundaries, breaking unhealthy patterns, and ultimately discovering a genuine love that is earned, not simply given.