The Weeknd - An Artist Review
In celebration of the release of After Hours, it seems fitting to take a look at The Weeknd’s extensive back catalogue and review some of his greatest hits, and the many personas he’s introduced us to throughout his musical career.
His first compilation Trilogy, initially released as individual mixtapes, introduced the world to Abel Tesfaye, known simply as The Weeknd. Back in 2011, Abel chose to remain mostly anonymous through the release of his tracks on YouTube, and his musical style reflected that. Through slow synths and isolated piano riffs, he drew us into his dark, drug-infused world. His early influences ranged from Michael Jackson, to Jean-Michel Basquiat and Prince. He was inspired by his personal life, which detailed the ups but mostly downs of sex, drugs, violence, and the side-effects of each. Standouts from Trilogy include The Birds Pt. 2 which samples Alfred Hitchcock’s The Birds, Loft Music, D.D. which plays as a rework of Michael Jackson’s Dirty Diana, and The Morning, to name a few.
Abel built on this momentum with the release of his debut full-length Kiss Land. The album in itself was slightly conceptual and, with tour support from Jhené Aiko and Schoolboy Q, he then personified this to the masses with the 2015 release of his second album Beauty Behind The Madness. He still presented as a tortured soul but seemed to be more apathetic about his critics, still playing in the shadows but beginning to step into the light. Singles In the Night and Can’t Feel My Face commercialised the vibe first experienced in Trilogy and launched him to pop star status. His first three projects marked the end of an era and after his tour of Beauty Behind The Madness came to a close, and he promptly deleted everything from his Instagram.
Abel’s next phase was introduced as Starboy and came with a video which saw him literally killing his old self and smashing his house and records to pieces. It ushered in a new short hairdo in lieu of his iconic, Basquiat-inspired dreads. He also traded in his musical style for something more radio-friendly, which received some criticism from long-time fans. Starboy was rooted in electronic pop with trap influences as collaborators Daft Punk gave the album a serious assist. If anything would have proved critics wrong, it was The Weeknd’s ability to mesh hazy R&B and pop seamlessly and Starboy’s Triple Platinum status is further proof of that. Tesfaye is more of an experimentalist and trailblazer than anything, which is why it was long overdue for him to shed his first skin and progress into the next era. Although he is loyal to his fans, like most creatives he’s never still and is always thinking about the next thing and how to push the envelope just a little further.
My Dear Melancholy, his next EP, was an amuse bouche to tide fans over until his next project. For this one, Abel reached into the back of his psyche and showed dedicated fans that his old style is still there and gave new fans something different to look forward to. He drew on his personal life, including his highly publicised relationships with both Selena Gomez and Bella Hadid, and Abel was praised for his honesty. Originally planned as a series of three EPs, My Dear Melancholy plays as an extension of both Starboy and Trilogy and stands resolute all on its own.
Finally we come to After Hours, a return to The Weeknd’s woozy beginnings, with a sprinkling of everything he’s learned along the way. There are synths, 80’s samples and the occasional club anthem to keep the energy up. Once again he changes his look, showing off a 70’s afro paired with a moustache that would make Pablo Escobar proud. But he doesn’t stop there; every live performance shows him sporting a bruised and bloody face, sometimes bandaged, always brutal. Switching up his style, he struts through the Blinding Lights video in a now iconic red and black suit, a song further boosted by a Mercedes-Benz commercial prominently featuring the track. The Weeknd shouts out his heroes now, becoming a man of a high roller’s lifestyle in 1970’s Las Vegas. After Hours drips with both decadence and despair, and overall it’s Abel’s honestly that once again shines through. He’s able to take a lifestyle that seems so far removed from what his listeners might experience and make it relatable in an emotional sense. The track that gives the album its name plays out over 6 minutes that sound different after every listen, and will definitely be a defining career moment for Tesfaye. Escape From LA is a slow burn that voices hatred for a city that’s been so cruel to him and resentment for the person it’s turned him into. Of his latest project, he says “you can find love, fear, enemies, violence, dancing, sex, demons, angels, loneliness and togetherness all in the After Hours of the night”, which he captures in 14 tracks in a way only Abel can.
Although at first this album may not have been what fans expected, there is no denying Tesfaye’s charisma and star power throughout, and his enigmatic personality is what keeps them wanting more. Truly captivating from start to finish, After Hours solidifies The Weeknd’s place among not just R&B, but music’s elite.
Written by: Grayson Harris-Paul