Summer Marjani Walker (born April 11, 1996) is an American singer and songwriter. She signed with the Atlanta-based record label Love Renaissance, an imprint of Interscope Records, in late 2017 to release her debut commercial mixtape, Last Day of Summer (2018). Its lead single, “Girls Need Love”, became her first entry on the Billboard hot 100 and spawned a remix featuring Canadian rapper Drake.
In an interview, Summer confirmed that Chris Brown, 21 Savage, Anderson Paak, GloRilla, Latto, Bryson Tiller, Sexyy Red, Brent Faiyaz, and a handful of other notable acts would all be featured on the 18-track album project.
On Finally Over It, Summer Walker closes her “Over It” trilogy. The album is divided into two thematic halves: “For Better” (disc 1) and “For Worse” (disc 2) a framing that alludes to a wedding vow but reinterpreted as a journey through love, heartbreak, self-worth and closure.
The sound leans heavily on polished ’90s / early-2000s R&B, occasionally mixed with contemporary hip-hop or even traces of country/pop, a shift from her earlier “trap-soul” roots.
Track-by-Track Breakdown
- “Scars”: As the opener, it sets a tone of reflection and emotional baggage. There’s a sense of wounded vulnerability, a sort of “Here’s what I’ve been through,” which primes the listener for the rest of the narrative. It isn’t flashy, but it feels honest. (It also works as a soft reset from past heartbreak.)
- “Robbed You” (feat. Mariah the Scientist): A gutsy, almost spiteful energy. Instead of longing or regret, it’s about flipping the script: “If I’m done, I might as well take what I deserve.” As some reviews note, it attempts to capture the “sugar-coated violence” of past rage-songs, a kind of cathartic, empowered shutdown.
- “No”: This is one of the more controlled, self-aware tracks. Built over a sample of Beyoncé’s “Yes,” it becomes a mid-tempo boundary-setting anthem: she’s tired of being taken for granted. Instead of the submissive love-songs we’ve heard elsewhere, “No” sounds like emotional self-respect and refusal.
- “Go Girl” (feat. Latto & Doja Cat): More assertive, sassier. Summer even experiments with a rap-inflected delivery. The song is meant as a confident, self-affirming anthem: a celebration of independence, women’s power, and “I can run things myself.” That said, some critics felt the energy is diffused and the features don’t always land.
- “Baby” (feat. Chris Brown): This one sample and interpolates Mariah Carey’s classic “Always Be My Baby,” which carries heavy emotional baggage. The result is divisive: some enjoy the nostalgic pull and the hypnotic groove, while others; as critics have pointed out, find Chris Brown’s contribution flat, undermining the potential of the sample and leaving the song feeling lackluster.
- “1-800-Heartbreak” (feat. Anderson .Paak): One of the album’s emotional peaks. The interplay between Summer’s vulnerability and Paak’s weary but soulful presence gives this track weight: heartbreak as confession, as longing, as someone trying to move on but still haunted by memories. Many critics highlighted this song for its depth and complexity.
- “Give Me A Reason” (feat. Bryson Tiller): A more classic R&B-soul cut. The mood is contemplative, almost pleading: wanting justification, closure, or at least clarity. It fits well within the “For Better” theme, reflecting that final push to either heal or move on for good.
- “Get Yo Boy” (feat. 21 Savage): A rougher cut: the presence of 21 Savage introduces a darker edge. The song feels like a confrontation: “You did this, now deal with the consequences.” It’s less about healing and more about establishing boundaries or making a statement.
- “Number One” (feat. Brent Faiyaz): A smoother, more sensual song; there’s a nostalgic, moody quality to it. It slows down the tempo, giving weight to the emotional undercurrents love, regret, uncertainty about trust. It’s subtle, intimate, and one of the more interesting collaborations on the album.
- “Finally Over It”: The closer a title track that functions like a statement of closure. It wraps up the emotional arc: pain, self-doubt, betrayal, reclamation, and ultimately, self-empowerment. Not the most explosive or dramatic finale but thematically satisfying: Summer emerges from heartbreak with dignity and resolve.
Summer Walker’s albums explore themes of love, relationships, heartbreak, and healing, often from a female perspective and with a focus on self-love and emotional growth. Her album, Finally Over It, is structured into two parts: “For Better,” focusing on self-love and moving on, and “For Worse,” exploring past relationships and sacrifices in love. Previous albums like Over It and Still Over It delved into complex and often tumultuous romantic experiences.
One supporter exclaimed, “One of the best albums of 2025. No skips!” More praise came from an Instagram follower who proclaimed this “album is going double platinum.” A third listener commented, “On ‘No’ right now. It’s giving Album of the Year already, I fear.” For others, Finally Over It has sparked excitement for future live shows. One individual remarked, “Ok, when is the tour dates dropping? I’m ready!”
Final Thoughts
Finally Over It is a mature, layered, and emotionally ambitious album. It doesn’t shy away from contradictions, pain and empowerment, vulnerability and strength, heartbreak and self-love. It might not always hit as hard as her earliest work (the stark rawness of that heartbreak becomes softened in parts), but it’s a compelling portrait of growth: not just surviving heartbreak but emerging with your own sense of worth and boundaries.
If you’ve ever loved someone, lost someone, tried to move on, or found yourself rethinking what you want from love, this album captures many of those complicated feelings. It’s not perfect. But for all its flaws, it’s honest. And in a genre that sometimes prefers gloss over grit, that honesty still counts.
