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Abel Makkonen Tesfaye[a] (Amharic: አቤል መኮንን ተስፋዬ; born February 16, 1990), known professionally as the Weeknd, is a Canadian singer-songwriter, record producer, and actor.[2][3] Regarded as an influential figure in popular music, he is known for his light-lyric tenor vocal range and falsetto, as well as his signature alternative R&B sound. His accolades include four Grammy Awards, 20 Billboard Music Awards, 22 Juno Awards, six American Music Awards, three MTV Video Music Awards, and a Latin Grammy Award.

Key Information

Tesfaye began releasing music anonymously in 2009. After co-founding the record label XO, he released three mixtapes—House of Balloons, Thursday, and Echoes of Silence—in 2011, and gained recognition for his alternative R&B sound. He signed with Republic Records to compile the mixtapes into the compilation album Trilogy (2012), and release his debut studio album, Kiss Land (2013) the following year. Follwing collaborations and film soundtrack contributions from 2013 and 2014, Tesfaye blended his alternative R&B sound with pop on his second and third studio albums, Beauty Behind the Madness (2015) and Starboy (2016); both debuted atop the US Billboard 200 and featured the Billboard Hot 100 number-one singles "Can't Feel My Face", "The Hills", "Starboy", and "Die for You".

He returned to his alternative R&B-sound for his debut EP, My Dear Melancholy (2018), featuring the US top-ten single "Call Out My Name". He began an album trilogy based on three time points and explored the dream pop and new wave genres starting with fourth studio album, After Hours (2020), which spawned the chart-topping singles "Heartless" and "Save Your Tears", as well as "Blinding Lights", which became the best-performing song in the Billboard Hot 100's history. He then explored dance-pop, with his second installment and fifth album, Dawn FM (2022), featuring the US top-ten single, "Take My Breath". In 2023, he co-created and starred in the controversial HBO drama series The Idol, which was received as a critical failure. His sixth album and third and trilogy conclusion, Hurry Up Tomorrow (2025), included the US top-five single "Timeless" and a poorly received companion film of the same name.

Tesfaye is one of the best-selling artists of all time, with estimated sales of over 75 million records. He has diamond-certified singles from the RIAA. Tesfaye was listed by Time as one of the world's most influential people in 2020. After Hours would later go on to be the most-streamed R&B album in history, while his longest-spanning After Hours til Dawn Tour set the record for the highest-grossing R&B tour in history. Tesfaye co-founded the record label XO in 2021 and hosted the Apple Music 1 radio show Memento Mori from 2018 to 2022. He has collaborated with fashion brands BAPE, Puma and H&M, coffee brand Nespresso, football club Paris Saint-Germain, and video games Fortnite and Roblox, among others. In 2020, he launched the incubator HXOUSE of which he serves as a sleeping partner, and was appointed goodwill ambassador for the World Food Programme in 2021. He has also donated to various causes and expressed activism over racial equality and food security.

Life and career

[edit]

1990–2008: Early life

[edit]

Abel Makkonen Tesfaye was born on February 16, 1990, in a city in Ontario, variously reported to be Toronto,[4][5][6][7] or Scarborough.[8][9][10][11][12][13][b] The only child of Ethiopian immigrants Makkonen Tesfaye and Samrawit Hailu,[c] who separated shortly after his birth,[15][16] he was raised in the suburb of Scarborough by his mother and grandmother.[17][18] Tesfaye's patronymic is spelled "Makkonen" instead of the traditional Ethiopian name "Makonnen". The similarity with the Finnish surname Makkonen is pure coincidence. The spelling of Tesfaye's patronymic might be the result of a typographic error or a new form of the traditional name.[19] Tesfaye is proficient in Amharic, his native language acquired from his grandmother,[20] and is also fluent in French, as he attended a French immersion school.[21] He was further educated at West Hill Collegiate Institute and Birchmount Park Collegiate Institute.[22]

At seventeen, Tesfaye dropped out of school and relocated to an apartment in the neighbourhood of Parkdale with two friends, one of whom was La Mar Taylor—his best friend and now creative director.[23] Living a hedonistic lifestyle with his friends,[17][24] Tesfaye adopted his stage name because he left home on a weekend.[25] He removed the last 'e' in 'weekend' to avoid trademark issues with the Canadian pop rock band the Weekend.[26] He has also experienced homelessness and was incarcerated on several occasions during this time, which encouraged him to "smarten up, to focus".[27][28] During this time, Tesfaye frequently engaged in drug use, including substances such as ketamine, cocaine, MDMA, magic mushrooms, and cough syrup,[29] stating that drugs were a "crutch" for him when he wrote music.[30] Before releasing music under his current stage name, he went under the alias "Kin Kane", as part of a hip-hop duo called "Bulleez n Nerdz",[16] and was part of a production team called 'the Noise'.[31][32]

2009–2014: Trilogy and Kiss Land

[edit]
The Weeknd wearing a button-up, sleeveless shirt covering a normal black t-shirt. He is performing on a stage, singing into a microphone, with palm trees in the background.
Tesfaye performing at the Coachella Valley Music and Arts Festival in 2012

In August 2009, Tesfaye began anonymously releasing music on YouTube.[33][34] The following year, he met the producer Jeremy Rose at a party. Rose asked Tesfaye if he wanted to work together as a dark R&B project after hearing him freestyle over an instrumental. After creating multiple songs and parting ways due to creative differences, Tesfaye was allowed to use the songs they made together under the condition that Rose received production credits.[35] In December 2010, Tesfaye uploaded "What You Need", "Loft Music" and "The Morning" to YouTube under the username "xoxxxoooxo".[36][37] His identity remained undisclosed initially. These songs gained attention online and were later acknowledged in a blog post by the rapper Drake.[35][38] The songs subsequently received coverage from various media outlets, including Pitchfork and The New York Times.[39]

In 2011, Tesfaye met music executives Wassim "Sal" Slaiby and Amir "Cash" Esmailian, with whom, along with Taylor, he founded the XO record label.[40] On March 21, Tesfaye released his debut mixtape, House of Balloons,[41][42][43] which featured production from Illangelo and Doc McKinney. The mixtape also included tracks produced by Rose, although he did not receive production credits.[35] House of Balloons was named as one of the ten shortlisted nominees for the 2011 Polaris Music Prize.[44][45]

Tesfaye started working with Drake in May 2011, eventually earning a spot at the latter's OVO Fest on July 31.[46] In July 2011, Tesfaye held his first live performance at the Mod Club Theatre in Toronto, which received media attention for Drake being in attendance.[47][45] He also participated in concerts hosted by the Black Student Association at the University of Toronto.[48]

In summer 2011, he also received media attention in the United States when his song "High For This" was featured in an ad campaign for the final season of HBO's "Entourage."[45] On August 18, Tesfaye released his second mixtape, Thursday, which garnered usually positive reviews.[49] Tesfaye contributed to four songs on Drake's second studio album, Take Care, released on November 15, as a songwriter, producer and a featured artist on the album's seventh single, "Crew Love".[50] He released his third mixtape, Echoes of Silence, on December 21. It was a longlisted nominee for the 2012 Polaris Music Prize.[51][52][45]

In April 2012, Tesfaye began performing at more shows, such as the Coachella Festival,[53] and two sold-out shows at the Bowery Ballroom in New York City.[53][54] He also performed at various European festivals, such as Primavera Sound in Spain and Portugal[55] and the Wireless Festival in the United Kingdom.[56][57][58] In September, Tesfaye signed with Republic Records; XO was assumed as a subsidiary label.[59] That same month, he embarked on his first concert tour, the Fall Tour, which included his own headlining shows and some opening shows for the English band Florence and the Machine. The tour was performed in North America in September to November 2012.[60]

On November 13, 2012, Tesfaye released Trilogy, a compilation album comprising re-mixed and remastered versions of his 2011 mixtapes, and three additional tracks.[61] The album debuted at number four on the US Billboard 200 with first-week sales of 86,000 copies,[62] and has received platinum certifications from the Recording Industry Association of America (RIAA) and double-platinum from Music Canada.[63][64] It also earned Tesfaye a nomination for the Sound of 2013 poll award by BBC.[65]

The picture depicts Tesfaye performing, with the lights giving the image an orange environment. In the background, there is a drum set.
Tesfaye performing at Massey Hall in October 2013

On May 17, 2013, Tesfaye released the title track to his debut studio album, Kiss Land[66] and announced the album's release date of September 10.[67] Upon its release, the album debuted at number two on the Billboard 200 with 96,000 copies[68] and received generally positive reviews from music critics.[69] Tesfaye further promoted the album with a fall tour that occurred in North America and England in September to November 2013.[70] Between November 6 and 13, he served as an opening act for Justin Timberlake during The 20/20 Experience World Tour.[71] He also contributed two songs to the soundtrack for the 2013 film The Hunger Games: Catching Fire, "Devil May Cry" and the soundtrack's second single, "Elastic Heart" with Sia and Diplo.[72]

In February 2014, Tesfaye released a remix of "Drunk in Love" from Beyoncé's eponymous studio album,[73] and Ty Dolla Sign's "Or Nah".[74] He announced the King of the Fall Tour in June 2014, a 4-city tour of North America between September and October and was supported by Schoolboy Q and Jhené Aiko.[75] In promotion of the tour, he released the songs "King of the Fall" and "Often" in July of that year.[76] On August 25, Tesfaye collaborated with Ariana Grande on the song "Love Me Harder" from Grande's second studio album My Everything. It was later released on September 30 as the fourth single from the album, and peaked at number seven on the Billboard Hot 100.[77] On December 23, Tesfaye released the song "Earned It" from the soundtrack for Fifty Shades of Grey (2015). The single, which peaked at number three on the Billboard Hot 100, earned Tesfaye his first and only Academy Award nomination for Best Original Song.[78] The song won Best R&B Performance and was nominated for Best R&B Song and Best Song Written for Visual Media at the 58th Annual Grammy Awards.[79]

2015–2016: Beauty Behind the Madness

[edit]
Tesfaye performing at Bumbershoot, 2015

On May 27, 2015, Tesfaye released the second single from Beauty Behind the Madness, "The Hills".[80] The single debuted at number twenty on the Billboard Hot 100, and peaked at number one, becoming Tesfaye's second number-one single, following "Can't Feel My Face", which had reached the number one position before it. In June 2019, "The Hills" was certified diamond by the RIAA, marking Tesfaye's first diamond-certified record.[81][82]

In June 2015, after winning the Centric Award at the BET Awards, Tesfaye performed "Earned It" with Alicia Keys.[83] On June 8, he released the song "Can't Feel My Face" as the album's third single. The track was previously leaked in May, but was released as a single following a performance by Tesfaye at the Apple Worldwide Developers Conference.[84] The single debuted at number twenty-four on the Billboard Hot 100, and peaked at number one, making it Tesfaye's third top 10 hit and his first number-one song in the United States.[85][86] The song was nominated for Record of the Year and Best Pop Solo Performance at the 58th Annual Grammy Awards.[87]

He occupied all three slots on Billboard's Hot R&B/Hip-Hop Songs chart simultaneously with the aforementioned singles, becoming the first artist in history to accomplish this.[88] He was also unveiled as one of the musical faces of the streaming service Apple Music, alongside Drake.[89] During the 2015 MTV Video Music Awards, Apple debuted a two-part promotional commercial featuring Tesfaye, which had a guest appearance from John Travolta.[90] In July, Tesfaye headlined the inaugural FVDED in the Park festival in Surrey, British Columbia.[91] On June 29, Tesfaye was featured on Meek Mill's second studio album Dreams Worth More Than Money (2015), on the track "Pullin' Up".[92]

Beauty Behind the Madness, Tesfaye's second studio album, was released on August 28, 2015, and debuted atop the Billboard 200, earning 412,000 album-equivalent units in its first week.[93][94] It reached the top 10 in over ten countries and reached number one in Canada, Australia, Norway, and the United Kingdom.[95][96] The album was promoted by Tesfaye headlining various summer music festivals, including Lollapalooza, the Hard Summer Music Festival, and the Bumbershoot Festival.[97]

He announced The Madness Fall Tour, his first large-scale tour across the United States, which began in November, and concluded in December.[98][99] The album was certified double platinum in the U.S., and sold 1.5 million copies worldwide.[100] It was the most-streamed album in 2015, with over 60 million streams,[101] and was ranked on multiple lists of albums of the year.[102] The three singles that preceded the album were certified platinum in the United States.[103] The album won Best Urban Contemporary Album and was nominated for Album of the Year at the 58th Annual Grammy Awards.[104]

On September 4, 2015, Tesfaye was featured on Travis Scott's debut album Rodeo, on the track "Pray 4 Love".[105] On October 10, Tesfaye appeared on Saturday Night Live alongside actress Amy Schumer, performing as the show's musical guest.[106][107] This was his first performance on the show as a solo artist, after appearing with Ariana Grande to perform "Love Me Harder".[107] In November, he began his debut arena tour, The Madness Fall Tour, which included shows at Toronto's Air Canada Centre and New York City's Madison Square Garden. On December 18, Tesfaye was featured on Belly's single "Might Not" from his eighth mixtape Up For Days.[108]

On February 14, 2016, Tesfaye was featured on Kanye West's seventh studio album The Life of Pablo on the track "FML".[109][110] It marked their second collaboration, with West previously writing and producing on Tesfaye's track "Tell Your Friends" from Beauty Behind the Madness. On March 1, Tesfaye was featured on Future's single "Low Life" from his fourth studio album Evol.[111] On April 23, he was featured on Beyoncé's sixth studio album Lemonade on the track "6 Inch".[112] On August 26, Tesfaye was featured on Cashmere Cat's single "Wild Love" with Francis and the Lights, which served as the lead single from Cashmere Cat's debut studio album 9 (2017).[113]

2016–2019: Starboy and My Dear Melancholy,

[edit]
Tesfaye performing at Lollapalooza Chile during the Starboy: Legend of the Fall Tour in 2017

In September 2016, Tesfaye announced that his third studio album, Starboy, would be released on November 25, and included collaborations with now-disbanded French electronic music duo Daft Punk.[114][115] He released the album's title track, which featured the duo on September 21.[116] The song debuted at number 40 on the Billboard Hot 100, and peaked at number one, making it Tesfaye's third number-one single.[117] As of March 2023, the song is certified Diamond by the RIAA.[118] Their second collaboration, "I Feel It Coming" was released on November 24. The single peaked at number four on the Billboard Hot 100.[119]

On October 1, Tesfaye made a second appearance on Saturday Night Live as the musical guest alongside actress Margot Robbie. During the show, he performed "Starboy" and "False Alarm".[120] On November 23, he released the short film M A N I A. Directed by Grant Singer, it featured excerpts from the album, including snippets from "All I Know" featuring Future, "Sidewalks" featuring Kendrick Lamar, "Secrets" and "Die for You".[121] Upon release, the album debuted at number one on the U.S. Billboard 200 with 348,000 units, making it Tesfaye's second consecutive number-one album.[122] As of January 2019, the album is certified triple platinum by the RIAA.[123] The album won Best Urban Contemporary Album at the 60th Annual Grammy Awards, making it Tesfaye's second win in the category.[124]

On February 17, 2017, the Weeknd began his fifth concert tour, called Starboy: Legend of the Fall Tour. The tour was in support of his third studio album Starboy and concluded on December 14, 2017. He visited the continents Europa, North- and South America and Oceania. On February 15, 2017, Tesfaye was featured on Nav's commercial debut single "Some Way", which also served as the lead single from his self-titled mixtape.[125] On February 24, he appeared on Future's sixth studio album Hndrxx, on the song "Comin Out Strong".[126] On April 19, Tesfaye appeared on the title track and second single from Lana Del Rey's fifth studio album.[127][128] On August 15, he was featured on French Montana's track "A Lie", the third single from his second studio album Jungle Rules. He then appeared on the Virgil Abloh-directed music video for Lil Uzi Vert's "XO Tour Llif3" alongside Nav. He was later featured on Lil Uzi Vert's debut album Luv Is Rage 2 on the track "UnFazed" and on Gucci Mane's eleventh studio album Mr. Davis on the track "Curve".

Tesfaye performing in Hong Kong, November 2018

On February 2, 2018, Tesfaye contributed to the soundtrack for Black Panther on the song "Pray for Me" with Kendrick Lamar. The track served as the third single from the soundtrack, and peaked at number seven on the Billboard Hot 100.[129][130]

On March 30, 2018, Tesfaye released his debut extended play My Dear Melancholy,[131][132] after news of the project were teased and leaked.[133][134] The EP debuted at number one on the Billboard 200 with 169,000 units, making it Tesfaye's third consecutive number-one album and the shortest album, by track count, to top the chart in eight years.[135] On April 6, Tesfaye released the EP's lead single "Call Out My Name", which peaked at number four on the Billboard Hot 100.[136][137] On April 13, he headlined the Coachella Valley Music and Arts Festival for the first time.[138][139] He appeared in multiple festivals throughout 2018 to support the EP, most notably the Mawazine Festival in Morocco,[140] Lollapalooza in both Chicago and Berlin,[141] and a post-race concert at the Abu Dhabi Grand Prix.[142]

On June 6, 2018, Tesfaye announced his new Apple Music 1 radio show Memento Mori. The first episode was released two days later.[143] He would later feature on two tracks from Travis Scott's third studio album, Astroworld, which were "Skeletons" and "Wake Up" on August 3, 2018.[144] On November 21, he released his first greatest hits album The Weeknd in Japan.[145] In support of the album and his EP My Dear Melancholy, he began his sixth concert tour, the Weeknd Asia Tour, a six-show tour of Asia during November and December. On January 11, 2019, Tesfaye was featured on Gesaffelstein's song "Lost in the Fire", the second single from his second studio album Hyperion.[146] On April 18, he released "Power Is Power" with SZA and Travis Scott, the lead single from the Game of Thrones-inspired soundtrack.[147][148]

2019–2021: After Hours and Super Bowl LV halftime show

[edit]

On November 24, 2019, Tesfaye teased his single "Blinding Lights" through a Mercedes-Benz commercial.[149] On November 27, he released "Heartless" as the lead single from his fourth studio album. The song debuted at number thirty-two on the Billboard Hot 100 and peaked at number one, making it Tesfaye's fourth number-one single.[150][151] "Blinding Lights" was released two days after the release of "Heartless" on November 29. The single debuted at number eleven on the Billboard Hot 100 and peaked at number one, making it Tesfaye's fifth number-one single.[152] "Blinding Lights" would then go on to become the first song in the chart's history to hold a spot in the top ten for an entire year.[153] It also became the longest charting song by a solo artist on the Hot 100 at 90 weeks, ending the week of September 11, 2021.[154][155] On November 23, 2021, "Blinding Lights" was ranked as the #1 Greatest Hot 100 Hit of All Time by Billboard, surpassing "The Twist" by Chubby Checker.[156] On January 1, 2023, it became the most streamed song on Spotify with 3.3 billion streams.[157]

On February 19, 2020, Tesfaye revealed that his fourth studio album would be titled After Hours, and would be released on March 20. He also released the album's title track as a promotional single.[158] On March 7, he made his third appearance as a musical guest on Saturday Night Live, alongside actor Daniel Craig. On the show, he performed "Blinding Lights" and debuted the track "Scared to Live".[159] Tesfaye released the album's third single "In Your Eyes" on March 24. The track peaked at number sixteen on the Billboard Hot 100.[160]

Upon release,[161] After Hours debuted atop the Billboard 200, earning 444,000 units, marking Tesfaye's fourth consecutive number-one album.[162] It became the most streamed R&B album of all time, surpassing Tesfaye's own Starboy.[163][164] In the album's first charting week, Tesfaye also became the first artist to lead the Billboard 200, Billboard Hot 100, Billboard Artist 100, Hot 100 Songwriters and Hot 100 Producers charts simultaneously, and repeated his lead the following week.[165][166] The deluxe version of After Hours was released on March 29, 2020, and contained the tracks "Nothing Compares", "Missed You" and "Final Lullaby".[167]

On August 7, 2020, Tesfaye was featured on the late Juice Wrld's single "Smile" from his first posthumous album Legends Never Die. On August 28, he was featured on Calvin Harris' single "Over Now". On October 30, Tesfaye appeared on Ariana Grande's song "Off the Table" from her sixth studio album Positions.[168][169] On the same day, he appeared on Oneohtrix Point Never's track "No Nightmares" from his ninth studio album Magic Oneohtrix Point Never, which he also executive produced with OPN.[170] On November 5, he appeared on the remix of Maluma's "Hawái", was nominated for Best Urban Fusion/Performance at the 22nd Annual Latin Grammy Awards.[171][172] On December 10, he performed at iHeartRadio's Jingle Ball.[173] On February 5, 2021, Tesfaye released his second greatest hits album The Highlights. The album debuted at number two on the US Billboard 200, making it Tesfaye's highest charting compilation album and the biggest first week debut for a greatest hits album since Fully Loaded: God's Country (2019).[174]

Tesfaye headlined the Super Bowl LV halftime show at the Raymond James Stadium in 2021

Tesfaye headlined the Super Bowl LV halftime show on February 7, 2021, becoming the first Canadian solo artist to headline the show.[175][176][177][178] He reportedly spent US$7 million of his own money on the Super Bowl performance.[179] Reviews of the performance were generally positive.[180][181][182][183][184][185] The show resulted in a surge in streaming and downloads for Tesfaye's After Hours album as well as for the seven other songs he performed.[186][187] The halftime show earned three nominations at the 73rd Primetime Emmy Awards: Outstanding Variety Special (Live), Outstanding Lighting Design/Lighting Direction for a Variety Special, and Outstanding Technical Direction, Camerawork, Video Control for a Special.[188]

Over 2021, Tesfaye reissued his three mixtapes in its authentic form with the original mixes and samples to celebrate the tenth anniversary of their release, with House of Balloons coming first in March 2021.[189] Thursday's reissue followed in August 2021,[190][191] and in December, Echoes of Silence was reissued.[192][193]

On April 23, Tesfaye released a remix of "Save Your Tears" with Ariana Grande, marking their third collaboration.[194] The remix launched the song to the top of the Billboard Hot 100 on the chart dated May 8, 2021, becoming both artists' sixth number one hit.[195] He later began to tease new music in the same month. When asked about a new album during an interview with Variety, he explained that "if the last record is the After Hours of the night, then The Dawn is coming".[196] On May 11, Tesfaye performed "Save Your Tears" at the Brit Awards. He also accepted his first Brit Award for International Male Solo Artist, which was presented to him by former first lady of the United States Michelle Obama.[197][198]

On May 24, Tesfaye performed "Save Your Tears" at the Billboard Music Awards. He was nominated for a record sixteen awards, and won ten, including Top Artist and Top Hot 100 Song. When accepting his awards, Tesfaye continued to tease new music by saying "the After Hours are done, and The Dawn is coming".[199] On May 28, he performed the remix of "Save Your Tears" at the iHeartRadio Music Awards with Ariana Grande. On June 25, Tesfaye appeared on Doja Cat's single "You Right" from her third studio album Planet Her.[200] On July 22, he appeared on Belly's single "Better Believe" with Young Thug from his third studio album See You Next Wednesday.[201]

2021–2023: Dawn FM

[edit]
The Weeknd in July 2023 during his After Hours til Dawn Tour in Paris.

On August 2, 2021, Tesfaye released a snippet of new music on social media.[202] He appeared on the cover of the September 2021 issue of GQ, marking the magazine's first global publication.[203][204] Then, in a collaboration with NBC Sports and the 2020 Summer Olympics, Tesfaye announced the single "Take My Breath", which was released on August 6.[205][206] Later that month, he appeared on Kanye West's tenth studio album Donda on the track "Hurricane", which won Best Melodic Rap Performance at the 64th Annual Grammy Awards.[207]

On October 4, 2021, during an episode of Memento Mori, Tesfaye revealed that his fifth studio album was complete and that he was waiting on a "couple characters that are key to the narrative."[208] On October 18, Tesfaye announced that his upcoming tour, originally titled the After Hours Tour, would be held entirely in stadiums due to arena constraints and was scheduled to commence in July 2022.[209] The tour was renamed as the After Hours til Dawn Tour, and would incorporate elements from his fourth and fifth studio albums.[210][211]

On October 22, 2021, Tesfaye appeared on Swedish House Mafia's single "Moth to a Flame" from their debut studio album Paradise Again.[212] On November 5, he appeared on Post Malone's single "One Right Now" from his fourth studio album Twelve Carat Toothache.[213][214] On November 11, he was featured on Rosalía's single "La Fama" from her third studio album Motomami.[215][216] On December 16, Tesfaye was featured on FKA Twigs' single "Tears in the Club" from her debut mixtape Caprisongs.[217][218] The next day, on December 17, he was featured on Aaliyah's single "Poison" from her posthumous album Unstoppable.[219][220]

Tesfaye released his fifth studio album Dawn FM on January 7, 2022.[221] Upon release, the album debuted at number two on the Billboard 200 with 148,000 units, marking Tesfaye's eighth top ten entry and his second non-consecutive album to debut at number two.[222][223] He also broke the record for the most simultaneous entries for a male soloist on the Billboard Global 200, with twenty-four songs on the chart.[224][225] In addition to "Take My Breath", Dawn FM was supported by the singles "Sacrifice" and "Out of Time".[226][227] February 26, Tesfaye premiered The Dawn FM Experience, a television music special in partnership with Amazon Prime Video.[228]

The Weeknd's haunted house as part of Universal's Halloween Horror Nights.

On March 20, the Weeknd played in an episode of the cartoon The Simpsons.[229] On April 18, he headlined the Coachella Valley Music and Arts Festival for the second time, performing alongside Swedish House Mafia.[230][231] On July 8, 2022, his record of most number-one songs on the Billboard Hot R&B Songs chart was surpassed by fellow singer and would-be rival Chris Brown; Weeknd had 71 while Brown broke his record by 8 more.[232] On July 26, 2022, the Weeknd announced that he would host a haunted house at Universal Studios Florida and Hollywood, as part of Universal's Halloween Horror Nights hosted every Halloween.[233] Tesfaye appeared on the song "Creepin'" from Metro Boomin's album, Heroes & Villains, on December 2, 2022.[234] His song "Nothing Is Lost (You Give Me Strength)", made for the film Avatar: The Way of Water's official soundtrack, was released on December 16, 2022.

On February 24, 2023, following months-long renewed interest in and virality of the Weeknd's 2016 song "Die for You", which began charting in 2022 and reached a new peak of 6 on the Billboard Hot 100 6 years after its release, a remix of the song featuring Ariana Grande was released. The remix marked their fourth collaboration.[235][236] In the Billboard Hot 100 issue dated March 11, 2023, the remix reached the top of the chart, becoming both artists' seventh number one hit.[237] On February 27, 2023, in the wake of the remix's success, the Weeknd became the first artist to surpass 100 million monthly listeners on Spotify.[238]

On March 3, 2023, the Weeknd released his first live album, titled Live at SoFi Stadium.[239] It featured recordings from his HBO concert film of the same name, showcasing the last concert of the North American leg of his After Hours til Dawn Tour at SoFi Stadium. He subsequently featured on four songs—"Artificial Intelligence", "Defame Moi", "More Coke!!", and "Emotionless"—from Mike Dean's album 4:23, released on April 29, 2023. In May 2023, the Weeknd stated that he was intending to retire the moniker of "the Weeknd" in favor of performing under his birth name, or adopting a new pseudonym altogether. He explained that his upcoming album would most likely serve as his "final hurrah" under the name.[240]

2023–present: The Idol and Hurry Up Tomorrow

[edit]
Tesfaye at the 2023 Cannes Film Festival

The Weeknd co-created the HBO drama series The Idol with Sam Levinson, and stars in the show alongside Lily-Rose Depp. The series premiered at the 2023 Cannes Film Festival out of competition, where it received significant controversy for its graphic depiction of onscreen nudity and sexual content. The series debuted to widespread negative reviews from critics. The Hollywood Reporter stated that the series confirms the allegations that "Instead of subtly skewering the misogynistic and predatory nature of the business, The Idol became a forbidden love story — the stuff of a toxic man's fantasy", and called it "regressive rather than transgressive".[241] He received negative reviews for his acting, with critic Robert Daniels of The Playlist writing, "Tesfaye is also a terrible actor. He lacks the comfortability, the gravitas, charisma, and charm to increase the viability of Jocelyn being attracted to him. In most scenes, Tesfaye either hides under the cover of dim lighting, obtrusive coverage, or re-recorded dialogue dubbed into several scenes."[242] On August 28, 2023, HBO announced it had cancelled The Idol after one season.[243]

On June 8, 2023, the Weeknd announced a series of EPs featuring music from The Idol. Originally intended as a soundtrack album, each EP was released following the premiere of each episode of the show, which featured collaborations with Future, Playboi Carti, Madonna, Lil Baby, Lily-Rose Depp, and Jennie from the South Korean girl group Blackpink.[244] Later in June he received an invitation from the Academy to become a member.[245]

On July 21, Tesfaye appeared on Travis Scott's lead single "K-pop" from his fourth studio album Utopia,[246] and later appeared on another track on Scott's album, "Circus Maximus". Tesfaye appeared on Diddy's single "Another One of Me" on September 15, which he called his "final feature",[247][248] despite releasing multiple collaborations with Metro Boomin and Future in 2024.

On December 2, 2023, Fortnite announced that the Weeknd would be featured as the headlining artist for its Fortnite Festival gamemode and outfits of him would become available to play with on December 9. His outfits have three different variants of himself; the red suit seen throughout the promotional material for After Hours, the outfit from his 2022 Coachella performance, and two of the costumes that he was seen wearing during the After Hours til Dawn Tour.[249]

Tesfaye first teased news of a follow-up album to Dawn FM in 2022, telling his fans: "[I] wonder... did you know you're experiencing a new trilogy?" via Twitter.[250] On January 8, 2024, he further teased an upcoming album, posting pictures of his last two albums and a question mark on his social media.[251] On March 22, 2024, he appeared on the track "Young Metro" from Future and Metro Boomin's collaborative album, We Don't Trust You as well as several tracks on Future and Metro Boomin's We Still Don't Trust You album.[252]

On July 17, 2024, Tesfaye announced a one-night show in São Paulo, Brazil, set to take place on September 7, 2024.[253] He announced the title of his upcoming sixth album, Hurry Up Tomorrow, three days prior to the concert.[254][255] The album was released on January 31, 2025.[256] He also starred alongside Jenna Ortega in a companion film Hurry Up Tomorrow (2025) directed by Trey Edward Shults. The film was released in May 2025 and was widely criticized by critics.[257] Brandon Yu of The New York Times described the psychological thriller as being "all style and no substance".[258] Charles Bramesco of IndieWire criticized Tesfaye's acting and writing, describing it as "modes of imitative, hollow performance, like a bad actor’s varying notions of good acting".[259] Jordan Hoffman of Entertainment Weekly criticized the overall film as being a "nearly plot-free movie, [that] is self-indulgent, overly serious, and, worst of all, just plain dull."[260] IndieWire labeled it one of the "worst vanity projects ever made".[261]

Artistry

[edit]

Influences

[edit]
Tesfaye cites Michael Jackson, Prince, and R. Kelly as his main musical inspirations.

Tesfaye cites Michael Jackson, Prince, and R. Kelly as his main musical inspirations.[262] He has attributed Jackson's music as key in spurring him to be a singer, referencing the lyrics to "Dirty Diana" as an example.[16] His high-flying vocal style was influenced by Ethiopian singers such as Aster Aweke.[16] He grew up listening to a variety of music genres, including soul, hip hop, funk, indie rock, and post-punk.[263] Tesfaye is heavily influenced by 1980s music, and credits the video game Grand Theft Auto: Vice City (2002) for "opening my eyes" to the music of that era.[264] "I've always had an admiration for the era before I was born", he said in an interview for Billboard. "You can hear it as far back as my first mixtape that the '80s – Siouxsie and the Banshees, Cocteau Twins – play such a huge role in my sound."[265]

Tesfaye has named Deftones as one of his influences during the making of House of Balloons, Thursday and Echoes of Silence.[266] He has also cited Lana Del Rey,[267] David Bowie,[268] the Smiths, Bad Brains, Talking Heads, DeBarge,[269] 50 Cent, Wu-Tang Clan,[270][271] and Eminem as influences and inspirations.[272][273] When Daft Punk announced their split in 2021, Tesfaye praised them during an interview with Variety, saying: "Those guys are one of the reasons I make music, so I can't even compare them to other people..."[274]

Production and songwriting

[edit]

Tesfaye's songs are "built around a fogged, crepuscular production",[275] and feature slow tempos,[276] rumbling bass, and forlorn echoes.[15] His music incorporates samples that are unconventional in R&B production, including punk, shoegaze, dream pop and alternative rock.[277] Marc Hogan of Spin says that Tesfaye's samples tend "to draw from rock critic-approved sources, though generally ones that already share elements of his sexual menace", sampling artists such as Beach House, Siouxsie and the Banshees and Aaliyah.[278] Tesfaye worked mostly with producers Illangelo and Doc McKinney, whom Ian Cohen of Pitchfork credits with developing "a state-of-the-art R&B template" with the artist.[276] In concert, Tesfaye reappropriates his digitized productions with a suite-like arena rock aesthetic.[15]

His emotional, plaintive lyrics often express feelings of hurt and deal with subject matter such as sex,[275] drugs, and partying; this is seen especially in After Hours and House of Balloons.[15] Hermione Hoby of The Guardian characterizes Tesfaye's songs as "narcotised-slow jams" and delineates their message as "partying is an existential experience, sex is fraught with alienation, and everything registers as unreal and unsettling."[275] Paul MacInnes of The Guardian stated that he views Tesfaye's three mixtapes as "a rough trajectory of party, after-party and hangover."[279] Tesfaye has stated that by singing vulgar, ignorant lyrics in an elegant, sexy way, he is "paying homage to R Kelly, and even Prince to a certain extent."[280]

Voice and music style

[edit]

Tesfaye often sings in a falsetto register.[281] J. D. Considine finds his singing's "tremulous quality" similar to Michael Jackson, but writes that he eschews Jackson's "strong basis in the blues" for a more Arabic-influenced melisma.[277] Tesfaye possesses a wide light-lyric tenor vocal range, which spans over three octaves. His vocal range reaches its extreme low at the bass F (F2), and its peak high at the tenor G (G5), with a natural tessitura within the upper fourth octave.[282][283] Tesfaye often makes use of his head voice to build resonance to belt out strong high notes within the fifth octave.[283] Tesfaye's vocals have a recognizable Ethiopian characteristic. Hannah Giogis of Pitchfork notes that "his trademark vibrato, the characteristically pained whine that pervades much of Tesfaye's music, draws from a long Ethiopian musical legacy of tortured pining. Imbuing our voices with the shaky pain of loss—romantic or otherwise—is a hallmark of Ethiopian musical tradition. Tesfaye, with his staccato wails and aching nostalgia, is a young, North American addition to a dynasty of melodramatic Ethiopian singers."[284] In 2023, Rolling Stone ranked the Weeknd at number 110 on its list of the 200 Greatest Singers of All Time.[285]

Tesfaye's discography spans pop, R&B, hip hop, dance, alternative and new wave genres.[286] His work is generally categorized as alternative R&B, due to his contributions in broadening the genre's musical palette to incorporate indie and electronic styles.[287][288] Tesfaye shared his thoughts on the primary label during an interview with Time in 2015, stating: "Alternative R&B is in my soul. It's not going anywhere. When I put out songs from House of Balloons in 2010, people said I made R&B cool again. I'm assuming that's when the label was created. I feel honored that a good part of today's music is inspired by it, consciously or subconsciously. The only way I could have done that was to be ambitious and grand."[289] Tesfaye's first three mixtapes; House of Balloons, Thursday and Echoes of Silence, are alternative R&B projects that draw on dream pop, post-punk and trip hop, amongst others.[290][291] His debut studio album Kiss Land is categorized as R&B and dark wave.[292] His next three albums, Beauty Behind the Madness, Starboy and After Hours, are considered R&B and pop; with Starboy utilizing heavy trap influences,[293][294] and After Hours drawing on new wave and dream pop influences.[295][296] Tesfaye's fifth studio album Dawn FM explores dance-pop and synth-pop genres.[297][298]

Controversies

[edit]

Feuds

[edit]

Previously friends in the music industry, Tesfaye and Drake's dispute began in 2019, when the former disapproved of Drake's friendship with ex-girlfriend, Bella Hadid.[299] The feud intensified when Tesfaye echoed an alleged publication of Drake's hiding of his son from the media, specifically on the Gesaffelstein track, "Lost in the Fire".[300] They squashed their dispute in 2022,[301] a year after Drake defended Tesfaye's decision not to submit his music for Grammy award considerations.[302] However, on March 22, 2024, the feud reiginited when Tesfaye appeared on Future and Metro Boomin's collaborative album, We Still Don't Trust You, on the track "All to Myself", which he proclaimed that he was "proud that [he] didn't sell his soul to the devil", referring to Drake's imprint, OVO Sound.[303] Drake later involved Tesfaye in his ongoing feuds with Metro Boomin and Kendrick Lamar through his responding diss tracks,[304] in the context of the highly publicized feud between him and the latter.

Tesfaye was also involved in minor disputes with singer Usher,[305] and rapper Lil B.[306]

Plagiarism allegations

[edit]

In December 2015, Tesfaye was sued by Cutting Edge Music, which alleged that the bassline for "The Hills" had been taken from a composition featured in the score for the 2013 science fiction film The Machine.[307] One of the producers of the song was alleged to have sent a private Twitter message to Tom Raybould, the composer of the film's score, to tell him about the sample.[308] In September 2018, Tesfaye and Daft Punk were sued for allegedly stealing the rhythm for "Starboy" from Ethiopian poet and singer-songwriter Yasminah.[309] Tesfaye denied the allegations.[310]

In April 2019, Tesfaye was sued by British trio William Smith, Brian Clover, and Scott McCulloch, who accused Tesfaye of copyright infringement from plagiarising their song "I Need to Love" in order to create his song "A Lonely Night". They sought $150,000 from Tesfaye and Belly. In August 2019, the lawsuit was dismissed via summary judgment with the option to amend, with the court ruling that they had failed to show that Tesfaye or anyone else involved in making "A Lonely Night" had access to their song or that the works were substantially similar.[311] In September 2019, the plaintiffs filed an amended claim based on secondary infringement, which is still in litigation.[312][313]

In February 2020, Tesfaye and Kendrick Lamar were sued by the now-defunct indie band Yeasayer, claiming that "Pray for Me" includes an unauthorized sample of their song "Sunrise".[314] Later that year, Yeasayer voluntarily dismissed their lawsuit.[315] In September 2021, Tesfaye, Nicolás Jaar, and Frank Dukes were sued for copyright infringement by producers Suniel Fox and Henry Strange, protesting that "Call Out My Name" is "strikingly [or] substantially similar, if not identical" to their 2015 track "Vibeking".[316][317]

Allegations of homophobic lyrics

[edit]

In January 2019, Tesfaye was criticized for some of the lyrics in his and Gesaffelstein's single "Lost in the Fire". The second verse of the song, with the lines "You said you might be into girls, said you're going through a phase / Keeping your heart safe / Well, baby, you can bring a friend / She can ride on top your face / While I fuck you straight", were accused of being homophobic, fetishizing bisexuality, and perpetuating the falsehood that a person who identifies as being part of the LGBTQ+ community can be "turned straight".[318][319] Tesfaye subtly addressed the controversy in the song "Snowchild" from After Hours, with the lines "Every month another accusation / Only thing I'm phobic of is failing".[320][321]

2021 Grammys snub

[edit]

Following the release of the nominations at the 63rd Annual Grammy Awards in November 2020, Tesfaye accused the Grammys of corruption after he failed to receive any nominations. Based on the success of his album, After Hours, the Weeknd had been expected by many critics and publications to receive a large number of nominations, including Album of the Year as well as several nods for "Blinding Lights". Expressing his disappointment, Tesfaye tweeted "The Grammys remain corrupt. You owe me, my fans and the industry transparency...". He further explained that he was expecting nominations due to discussions between his team and the Grammys to perform at the ceremony but it was later reported by Rolling Stone that these discussions broke down due to Tesfaye also performing at the Super Bowl LV halftime show. In response, the Grammys released a statement saying that they "empathized" with Tesfaye's disappointment but that some "deserving" artists miss out every year. Recording Academy president Harvey Mason Jr. later expanded on this by explaining that "we understand that the Weeknd is disappointed at not being nominated. I was surprised and can empathise with what he's feeling. Unfortunately, every year, there are fewer nominations than the number of deserving artists. To be clear, voting in all categories ended well before the Weeknd's performance at the Super Bowl was announced, so in no way could it have affected the nomination process".[322] Several days later, Tesfaye stated that "I personally don't care anymore. I have three Grammys, which mean nothing to me now, obviously. I suck at giving speeches anyways. Forget awards shows. It's not like, 'Oh, I want the Grammy!' It's just that this happened, and I'm down to get in front of the fire, as long as it never happens again".[323] Halsey, a Weeknd collaborator, also spoke out in solidarity with Tesfaye after her 2020 album, Manic, received no nominations.[324][325]

The Idol allegations

[edit]

On March 1, 2023, Rolling Stone released a lengthy exposé on the working conditions and set life of the HBO drama series The Idol, a series in which Tesfaye stars, co-created and co-wrote alongside Sam Levinson. The series received significant controversy for its graphic depiction of sexual content, which critics labeled "torture porn". The series was originally directed by Amy Seimetz who suddenly "exited with roughly 80 percent of the six-episode series finished". The series saw a major creative overhaul, as it was reported that Tesfaye felt the show had too much of a "female perspective". Over 14 crew members alleged a toxic work environment with one adding "What I signed up for was a dark satire of fame and the fame model in the 21st century..." however, "It went from satire to the thing it was satirizing." Sources alleged that Seimetz's approach to the story was scrapped and the show became "like any rape fantasy that any toxic man would have in the show — and then the woman comes back for more because it makes her music better".[326]

In response to the allegations, Tesfaye mocked the reporting on his Twitter account, posting a clip of the characters in the show discussing the magazine saying, "Rolling Stone? Aren't they a little irrelevant?". Tesfaye posted the comment in the caption: "@Rolling Stone did we upset you?".[327][328] Tesfaye's response received widespread criticism, with some pointing out that in his 2011 song "Rolling Stone" he boasted about being recognized by the magazine.[329] In an interview with Vanity Fair, he continued to dismiss the reporting, saying that logistical difficulties with Seimetz's schedule and production timelines, as well as a desire not to rush his first show, propelled the overhaul.[330]

Other ventures

[edit]

Acting

[edit]

Tesfaye is a cinephile, and has made numerous movie references in his music videos and teasers.[331][332] On August 30, 2019, during the Telluride Film Festival, he made his acting debut in the film Uncut Gems.[333]

On March 7, 2020, during his third appearance as a musical guest on Saturday Night Live, he starred in the skit "On The Couch" with actors Kenan Thompson and Chris Redd.[334] On May 4, he co-wrote and starred in an episode of American Dad!.[335] In July, he voiced three characters during the 200th episode of Robot Chicken.[336]

On June 29, 2021, Tesfaye announced that he would be co-creating, co-writing, executive producing and starring in the HBO television drama series The Idol, alongside his producing partner Reza Fahim and Euphoria creator Sam Levinson.[337] On March 20, 2022, Tesfaye voiced two characters during an episode of The Simpsons.[338]

In 2023, Tesfaye co-wrote a film with Trey Edward Shults, who also directed; Hurry Up Tomorrow, which is based on the 2025 studio album of the same name. Tesfaye also stars in the film, alongside Jenna Ortega and Barry Keoghan;[339][340] and it was released on May 16, 2025. The film has been panned by the critics,[341][342][343] and it was a box office bomb, grossing 7.6 million with a budget of 15 million.[344][345]

Endorsements and investments

[edit]

In 2013, Tesfaye collaborated with condom company ONE to give away limited-edition condoms at his shows during the Kiss Land Fall Tour.[346][347] In November 2015, he partnered with electronic vaporizer company Pax Labs to release a limited edition vaporizer.[348][349] He also collaborated with fashion designer Alexander Wang for an apparel collection.[350] In 2016, Tesfaye became a creative collaborator and global brand ambassador for the clothing brand Puma.[351] With the partnership, he released numerous capsule collections and hosted several pop-up retail stores.[352][353]

In 2017, Tesfaye partnered with retail company H&M for their men's collection.[354] He cut ties with the company in 2018, following a racist incident within the company.[355] In July 2018, Tesfaye collaborated with Marvel Comics to release a comic book inspired by his third studio album Starboy.[356] In August, he released an apparel collection in collaboration with A Bathing Ape.[357][358] A second collection was released in January 2020.[359]

In April 2019, Tesfaye became an owner and global ambassador of the esports company OverActive Media, who owns the Splyce and Overwatch League team Toronto Defiant.[360]

On August 31, 2020, Tesfaye partnered with TD Bank to launch Black HXOUSE, an entrepreneurial initiative within the incubator HXOUSE, where he serves as a sleeping partner.[361] On September 9, Canadian Prime Minister Justin Trudeau announced a CA$221,000,000 joint venture with HXOUSE for Black Canadian entrepreneurs.[362]

In March 2021, Tesfaye auctioned a collection of visual artwork and an unreleased song in the form of a non-fungible token (NFT) on Nifty Gateway.[363][364] In October, he joined football player Tom Brady's NFT platform Autograph as a member of their board of directors.[365]

In 2022, Tesfaye invested in plant-based beverage brand Koia.[366]

Since 2023, Tesfaye, in partnership with Blue Bottle Coffee launched Samra Origins, a specialty coffee brand inspired by his Ethiopian heritage and which he named after his mother. A new coffee blend collection (the "Togetherness Blend") in collaboration with Nespresso was released in 2025. The same year, he partnered with Roblox to launch a limited avatar collection, as well as French football club Paris Saint-Germain FC to launch a limited capsule collection and kits under the XO branding.

XO

[edit]
The logo for Tesfaye's record label XO

In 2011, Tesfaye co-founded with managers Wassim Slaiby and Amir Esmailian, as well as creative friend La Mar Taylor, the XO record label. Its motto is "XO 'Til We Overdose" and has been frequently associated with OVO Sound, Drake's record label, of which the partnership has been sometimes labelled as "OVOXO". "XO", sometimes used as an emoticon for hugs and kisses, may refer to Tesfaye's recreational use of ecstasy and oxycodone.[367] [368][369] Tesfaye would later use the word as a suffix for his given name on social media (AbelXO).[367]

Artists signed to XO include the Weeknd himself, Belly, Nav, and Chxrry22, while 88Glam and Black Atlass were previously signed to the label. As of 2025, the label has eight number-one albums on the Billboard 200: six albums by the Weeknd and two albums by Nav.[370][371]

Memento Mori

[edit]

In June 2018, the Weeknd created the radio show Memento Mori under Apple Music 1 (then known as Beats 1).[372] The show, which featured numerous guest artists, featured songs that inspired Tesfaye's album during recording processes. The guests would also make curated playlists and host their own episodes.[373]

The first episode, aired on June 8, featured songs that were inspired by "some very memorable nights." Tesfaye was at the time living in Paris when airing the first episode.[374] Campaigns for After Hours and Dawn FM were also aired on Memento Mori.[375][376][377] For the former campaign, the ninth episode that aired on August 13, 2020 was made to celebrate the Weeknd's debut album Kiss Land (2013).[378] These includes unreleased tracks that did not make part of the final release and a Lana Del Rey collaboration, as well as a track that would later be released as "Another One of Me" with Diddy.[379] As of 2025, the show has 22 episodes aired from 2018 to 2022.

Philanthropy

[edit]

After being presented with a Bikila Award for Professional Excellence in 2014, Tesfaye donated CA$50,000 to the University of Toronto to fund a new course on Ge'ez, the classic language of Ethiopia.[380] In May 2016, during Orthodox Easter, Tesfaye donated CA$50,000 to the St. Mary Ethiopian Orthodox Tewahedo Cathedral in Toronto, Canada, a church he attended growing up.[381][382] In August 2016, he funded a new Ethiopian studies program at the University of Toronto.[383]

In June 2017, Tesfaye donated US$100,000 to the Suubi Health Center, a maternity and children's medical facility in Budondo, Uganda. He was inspired to support the center after learning of French Montana's work with Global Citizen and Mama Hope to help raise awareness for Suubi and the people of Uganda.[384]

In April 2020, Tesfaye launched a line of non-medical face masks with all of the proceeds going to the MusiCares COVID-19 Relief Fund, a campaign launched by the Recording Academy to help musicians affected by the COVID-19 pandemic.[385] In addition, Tesfaye donated US$500,000 to MusiCares and CA$500,000 to the Scarborough Health Network.[386]

In August 2016, Tesfaye donated US$250,000 to the Black Lives Matter Global Network Foundation following numerous reports of police brutality in the United States.[387][383][388] In May 2020, in response to the murder of George Floyd and the protests that followed, Tesfaye donated US$500,000 to the Black Lives Matter Global Network Foundation, Colin Kaepernick's Know Your Rights Camp, and the National Bail Out.[389] He then urged other music executives, major record labels, and streaming services to donate to the cause as well.[390][391]

On August 7, 2020, Tesfaye held the "Weeknd Experience", an interactive virtual concert on the social media platform TikTok that drew two million total viewers, including 275,000 concurrent viewers. The concert raised over US$350,000 for the Equal Justice Initiative. He also donated US$300,000 to Global Aid for Lebanon in support of victims of the Beirut explosion.[392][393] On November 2, the University of Toronto announced that it was able to reach and surpass its fundraising goal of CA$500,000 for its Ethiopic program, which included a CA$30,000 donation from Tesfaye.[394] In May 2021, he was among the celebrities expressing more solidarity for civilians who died during the 2021 Israel–Palestine crisis.[395][396] On September 23, Tesfaye was honored with the Quincy Jones Humanitarian Award at the inaugural Music in Action Awards, presented by the Black Music Action Coalition.[397]

On January 9, 2024, Tesfaye partnered with the non-profit organization School on Wheels Inc. to support more than 1,000 students experiencing homelessness.[398] To coincide with his concert in Brazil, Tesfaye released merchandise and will donate 10% of the net profits to the Brazilian Soul Fund of BrazilFoundation.[399][400]

WFP ambassadorship

[edit]

On April 4, 2021, Tesfaye announced a US$1,000,000 donation through the United Nations World Food Programme (WFP) to relief efforts in Ethiopia for people affected by the Tigray War.[401] On June 9, he met with the administrator of the United States Agency for International Development, Samantha Power, to discuss the humanitarian crisis of the Tigray War.[402] Tesfaye was appointed as a UN Goodwill Ambassador for the World Food Programme on October 7.[403][404]

On March 3, 2022, he partnered with the WFP to launch the XO Humanitarian Fund. Through the fund, Tesfaye was to donate US$1 from every ticket sold at his After Hours til Dawn Tour, in addition to a US$500,000 donation, to the WFP.[405] $2,500,000 from the XO Humanitarian Fund was directed toward WFP's humanitarian response efforts in the Gaza Strip, providing four million emergency meals for those affected by the Israeli invasion of the Gaza Strip.[406][407] On April 29, 2024, Tesfaye announced he will donate another $2 million to Palestine as loaves of bread.[408]

Personal life

[edit]

Tesfaye prefers to keep his personal life out of the public eye.[409][410] For the majority of his career until 2025, he refrained from participating in interviews and instead chose to communicate via Twitter, which he attributed to shyness and insecurities.[411] He prefers to be interviewed only in rare situations.[412] Tesfaye was raised as an Ethiopian Orthodox Christian.[16][25] When asked whether or not he was still religious, he stated to Variety in 2020, "I dunno...everything is a test, and if you are religious or spiritual, you have to go through things."[413]

From April 2015 to August 2019, Tesfaye was in an on-again, off-again relationship with American model Bella Hadid.[414][415] She starred in the music video for his single "In the Night" in December 2015.[416] He dated American singer-actress Selena Gomez from January to October 2017.[417][418] Both of the relationships received widespread media attention, and were the topic of tabloid speculation.[419][420][421] Tesfaye has been in a relationship with Saudi-born disc jockey Simi Khadra since February 2022.[422] Publications noticed that unlike his previous romances with Hadid and Gomez, Tesfaye keeps his relationship with Khadra private from the press.[423]

Tesfaye's hairstyle, which has been described as one of his most recognizable traits, has been claimed to be partly inspired by American artist Jean-Michel Basquiat.[16][424] He began growing it out in 2011 and remarked at how easy it was to maintain with "a hard shampoo every once in a while".[16] He cut his hair in 2016, prior to the release of Starboy.[425] On social media, Tesfaye typically suffixed his first name with "xo", which is often used as an emoticon for hugs and kisses.[367] According to The Guardian's Hermione Hoby, this was his intention, though others believe it was a reference to his recreational use of ecstasy and oxycodone.[368][369]

He later altered the handles on his social media to reflect his stage name in preparation for the release of Starboy.[426] In August 2021, during a cover story with GQ, he described himself as being "sober lite", meaning that he has stopped using drugs with the exception of marijuana. He also noted that he drinks alcohol occasionally, stating: "I'm not a heavy drinker, as much as I used to be. The romance of drinking isn't there."[427]

In January 2015, Tesfaye was arrested for allegedly punching a police officer in Las Vegas after being taken into an elevator to break up a fight.[428][429] He pleaded no contest and was sentenced to complete fifty hours of community service.[430]

As of August 2021, Tesfaye was residing in Bel Air, Los Angeles.[431][432] In 2017, he purchased a home in Hidden Hills, California, for $18.5 million, which he sold to Madonna in 2021 for $19.3 million.[433] Tesfaye previously lived in penthouses in Westwood, Los Angeles,[434][435] and New York City.[436][437]

In April 2023, Tesfaye revealed that he has ADHD.[438]

Accolades

[edit]

Tesfaye has won four Grammy Awards, a Latin Grammy Award, twenty Billboard Music Awards, six American Music Awards, three MTV Video Music Awards and twenty-two Juno Awards.[439] He has also received nominations for an Academy Award and a Primetime Emmy Award.[440]

In October 2014, Tesfaye was awarded the Allan Slaight Honour by Canada's Walk of Fame for "making a positive impact in the fields of music, film, literature, visual or performing arts, sports, innovation or philanthropy".[441]

Toronto mayor John Tory announced that the city would observe February 7, 2021, as the Weeknd Day to commemorate Tesfaye's Super Bowl halftime performance.[442][443]

Discography

[edit]

Filmography

[edit]

Tours

[edit]

Headlining

Supporting

Current touring musicians

  • Ricky Lewis – drums (2011–present)
  • Patrick Greenaway – lead guitar (2012–present), keyboards (2022–present), synthesizer (2020–2022)
  • Mike Dean – synthesizer, guitar, keyboards, saxophone (2022[d], 2023–present)

Former touring musicians[e]

  • Adrian X – lead guitar (2011)
  • Nathaniel James – bass, keyboards (2012)
  • Daniel Jones – keyboards (2012–2013; died 2023)
  • Jonathan "Jonny Goood" Drummond – bass, keyboards (2012–2013)
  • Kelly Wolfgramm – backing vocals (2012–2013)
  • Muhsinah – backing vocals (2012–2013)
  • Ledaris "LJ" Jones – bass, keyboards, synthesizer (2013–2022)

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Abel Makkonen Tesfaye (born February 16, 1990), known professionally as the Weeknd, is a Canadian , and of Ethiopian descent. His music, blending , pop, and elements, often explores themes of drug use, romance, and self-destruction, drawing from personal experiences in Toronto's underground scene. Tesfaye gained initial recognition in 2010 through anonymous mixtapes uploaded online, leading to the Trilogy (2012) and major-label debut Kiss Land (2013). Subsequent releases like Beauty Behind the Madness (2015), featuring hits "Can't Feel My Face" and "The Hills," propelled him to mainstream stardom, with the former earning a Grammy for Best Urban Contemporary Album. Starboy (2016) and After Hours (2020) further solidified his commercial dominance, the latter including "," which became Spotify's most-streamed song ever and contributed to his World Record as the most popular artist. By 2025, Tesfaye has sold over 24 million albums worldwide, secured four , 20 , and performed the Super Bowl LV halftime show. He co-created and starred in the 2023 series The Idol, which faced backlash for its explicit content and portrayal of exploitation, resulting in cancellation after one season amid claims of creative overreach.

Early Life

Childhood and Family Background

Abel Makkonen Tesfaye, known professionally as the Weeknd, was born on February 16, 1990, in Toronto, Ontario, Canada, to Ethiopian immigrant parents Makkonen Tesfaye and Samrawit Tesfaye.<grok:render type="render_inline_citation"> 3 </grok:render> He was their only child and grew up in the multicultural, low-income Scarborough neighborhood, a eastern suburb characterized by socioeconomic challenges typical of immigrant enclaves in urban Canada.<grok:render type="render_inline_citation"> 11 </grok:render><grok:render type="render_inline_citation"> 15 </grok:render> Tesfaye's parents separated when he was a toddler, leaving his father largely absent from his upbringing; he was raised primarily by his mother and maternal grandmother in a single-parent marked by financial strain.<grok:render type="render_inline_citation"> 5 </grok:render><grok:render type="render_inline_citation"> 6 </grok:render><grok:render type="render_inline_citation"> 13 </grok:render> His mother, rooted in Ethiopian cultural traditions including Orthodox , worked multiple low-wage jobs—often as a nurse or in similar roles—to provide for the family, emphasizing amid the hardships of immigrant adaptation.<grok:render type="render_inline_citation"> 18 </grok:render><grok:render type="render_inline_citation"> 15 </grok:render> This environment fostered early experiences of isolation, as Tesfaye navigated a bilingual speaking at home—learned fluently from his grandmother—and English in the broader community.<grok:render type="render_inline_citation"> 12 </grok:render><grok:render type="render_inline_citation"> 14 </grok:render> Cultural influences in the home included traditional Ethiopian played by his , which exposed Tesfaye to rhythmic and melodic elements from his heritage, contrasting with limited Western pop cassettes occasionally left by his father before his departure.<grok:render type="render_inline_citation"> 19 </grok:render> These dynamics, set against Scarborough's urban grit—including exposure to petty and economic —shaped a foundational centered on personal resilience, without familial safety nets, informing later reflections on and .<grok:render type="render_inline_citation"> 15 </grok:render><grok:render type="render_inline_citation"> 16 </grok:render>

Formative Years in Toronto

Tesfaye dropped out of high school at age 17 in 2007 alongside his friend . He subsequently left his mother's apartment in the Scarborough suburb of , relocating to a one-bedroom unit in the Parkdale neighborhood with Taylor. The pair subsisted on government benefits while immersing themselves in a lifestyle marked by heavy drug consumption, including , , , mushrooms, and cough syrup, which Tesfaye characterized as a "crutch" for coping and creative output. To make ends meet amid financial strain, Tesfaye took entry-level work folding clothes at an store. He supplemented this through petty hustles, such as stealing food from supermarkets, and more serious infractions like robbing strangers for shoes, leading to overnight jail stays around age 18. These survival tactics, coupled with frequent partying and casual pursuits in Toronto's , fostered the hedonistic and escapist patterns that would inform his later artistic themes, reflecting a deliberate rejection of conventional educational or career trajectories in favor of self-reliant improvisation. Around age 18, Tesfaye initiated his musical endeavors through self-taught bedroom recordings, initially composing tracks aimed at pop performers rather than personal release. Lacking formal training, he drew ambient influence from Toronto's urban R&B and hip-hop milieu but prioritized raw, drug-prolonged sessions to channel unvarnished personal realism over polished technique. This experimental phase underscored his independent streak, prioritizing introspective creation amid chaos over structured paths.

Career Trajectory

Mixtape Breakthrough and Trilogy (2009–2012)

In late 2010, Abel Tesfaye, performing under the pseudonym The Weeknd, began anonymously uploading songs to , including "What You Need," "Loft Music," and "The Morning," which originated from sessions for his debut project and quickly attracted underground attention in Toronto's music scene for their atmospheric, hedonistic R&B sound. This direct-to-fan approach bypassed traditional industry gatekeepers, allowing organic sharing among listeners drawn to the raw, sample-heavy production and themes of excess. On March 21, 2011, The Weeknd self-released the mixtape for free via his XO imprint's website, comprising nine tracks that expanded on the teasers with a cohesive of party-fueled despair and addiction, produced primarily by and . The project gained viral traction online, amplified by endorsements from artists like Drake, who incorporated elements from its sessions into his 2011 album Take Care, highlighting shared regional influences without formal co-signing at the time. Follow-up mixtapes (August 18, 2011) and (December 21, 2011) continued the free model, each delving deeper into nocturnal introspection and substance-laden lyrics, collectively forming an informal that solidified his through word-of-mouth and peer-to-peer sharing. By September 11, 2012, the momentum prompted a deal between XO and under , enabling wider physical and digital commercialization while retaining creative independence. This culminated in the Trilogy on November 13, 2012, remastering and bundling the three mixtapes with three new tracks, which debuted at number 4 on the chart upon release. Critics praised the unpolished authenticity and innovative blend of pop samples with modern trap elements, though initial commercial promotion remained restrained, underscoring the efficacy of distribution in establishing viability before major-label involvement.

Kiss Land and Initial Mainstream Push (2013–2014)

Kiss Land, The Weeknd's debut studio album, was released on September 10, 2013, via XO and Republic Records. The project marked a transition from the anonymity of his earlier mixtapes to a more formalized release structure, incorporating synth-pop elements alongside confessional lyrics exploring isolation and fleeting encounters. It debuted at number 2 on the Billboard 200 chart, selling 86,000 copies in its first week and demonstrating commercial viability prior to broader pop crossover. The album's themes were shaped by Tesfaye's initial international touring experiences post-Trilogy, with tracks evoking disorientation in foreign settings akin to a metaphorical "." Promotional singles like "," released on July 16, 2013, hinted at this pivot, achieving modest radio play and signaling a shift toward structured promotion while retaining atmospheric introspection. Other cuts such as "Live For" featuring Drake further bridged underground roots with emerging mainstream accessibility, though none achieved significant chart dominance. The Fall Tour, commencing in late , amplified the album's reach through live performances that solidified Tesfaye's reputation for immersive shows, including slots that drew expanding audiences. This period saw initial media focus on his depicted of excess—drugs, transient relationships, and nocturnal excess—often framed by outlets as unfiltered authenticity mirroring his , despite the material's self-aware, performative undertones evident in its cinematic horror influences. Empirical indicators of independence included the tour's sold-out venues and album sales exceeding 300,000 units domestically by year-end, underscoring self-sustained momentum absent blockbuster hits. Such coverage, while boosting intrigue, overlooked the calculated artistry in portraying as both lure and trap, prioritizing over of thematic construction.

Beauty Behind the Madness and Pop Ascendancy (2015–2016)

, The Weeknd's second studio album, was released on August 28, 2015, through XO and . The project debuted at number one on the chart, marking his first entry into the top position on that ranking. Its lead singles, and "The Hills," both reached number one on the , with the former holding the peak for three nonconsecutive weeks and the latter for six weeks, making The Weeknd the first artist since in 1964 to replace his own song at the top of the chart. The album's production incorporated collaborations with pop producers like , who co-produced "" and contributed to refining its and R&B elements for radio compatibility, contributing to its crossover appeal. This shift facilitated widespread airplay and streaming, with the record achieving over 1.5 million worldwide sales in alone and later certified multi-platinum in multiple markets, including 5× Platinum in the United States by the RIAA. At the 58th in 2016, earned the award for Best Urban Contemporary Album, alongside wins for "" in Best R&B Performance, underscoring industry validation of its commercial pivot. Promotional efforts, including performances at events tied to Drake's OVO Sound affiliation and partnerships with —such as headlining the Apple Music Festival in —amplified its reach through targeted streaming pushes. These initiatives aligned with data-driven metrics, as the album's tracks garnered hundreds of millions of streams in its initial months, evidencing a merit-based ascent driven by listener engagement rather than hype. While some early fans critiqued the polished sound as a departure from his raw origins, the quantifiable dominance and sustained sales refuted sellout narratives, establishing a self-reinforcing pop-R&B framework that propelled his independent empire.

Starboy and Commercial Peak (2016–2019)

The Weeknd released his third studio album, Starboy, on November 25, 2016, through XO and Republic Records. The project debuted at number one on the Billboard 200 chart, marking the third-largest debut week of 2016 with 348,000 equivalent album units. Featuring collaborations with Daft Punk on the title track and "I Feel It Coming," the album showcased a shift toward synth-funk and electronic influences while maintaining the artist's signature dark R&B elements. The lead single "Starboy," featuring , achieved diamond certification from the RIAA in 2022, representing over 10 million units in the United States. Similarly, "," also featuring , reached number four on the and earned 8× platinum certification by late 2024. These tracks drove the album's commercial success, with all 18 songs charting on the simultaneously. The supporting Starboy: Legend of the Fall Tour, spanning 2017, grossed $82.2 million from 77 shows and over one million tickets sold. In March 2018, The Weeknd surprise-released the EP My Dear Melancholy,, which debuted at number one on the Billboard 200, becoming his third consecutive chart-topping project. The six-track EP delved into introspective heartbreak themes amid personal turmoil following a high-profile breakup, blending atmospheric production with raw emotional lyrics. That same month, he collaborated with Kendrick Lamar on "Pray for Me" for the Black Panther soundtrack, released February 9, 2018, which underscored his versatility in cinematic contexts. During this period, XO Records expanded with signings including rapper Nav in 2016 and hip-hop duo in 2017, bolstering the label's roster and contributing to The Weeknd's growing entrepreneurial footprint. These releases and ventures solidified his commercial dominance, with Starboy era revenues highlighting peak earnings from streaming, sales, and live performances.

After Hours and Pandemic-Era Stardom (2019–2021)

The Weeknd released his fourth studio album, After Hours, on March 20, 2020, through XO and Republic Records. The project served as a conceptual continuation of the narrative arc from his prior work Starboy, depicting a hedonistic character's descent into isolation, regret, and self-destruction following a failed relationship, underscored by themes of excess and emotional turmoil. Accompanied by interconnected music videos featuring viral visuals—such as the protagonist's bloodied, bandaged face symbolizing injury and detachment—the album revived 1980s synth-pop aesthetics with pulsating electronic production and retro-futuristic imagery. It debuted at number one on the Billboard 200, marking the largest opening week for an R&B album in the chart's history at the time, and topped charts in multiple countries including Australia, Austria, and Canada. The "Heartless," released on November 27, 2019, introduced the album's sound with trap-infused beats and introspective lyrics, peaking at number three on the Hot 100. Follow-up "," issued in November 2019 ahead of the album, propelled its commercial dominance, achieving over five billion streams on by August 2025—the first song to reach that milestone—and establishing it as the platform's most-streamed track ever. Released amid the pandemic's onset, After Hours sustained momentum through heightened streaming amid lockdowns, with social media platforms like amplifying engagement; "" alone featured in over 1.5 million user videos, fostering viral challenges and fan recreations that compensated for canceled live events. Virtual adaptations, including an immersive in July 2020 simulating the album's vibe, further bridged the gap left by restrictions, leveraging digital interactivity to maintain fan connection and drive plays. Culminating the era, The Weeknd headlined the Super Bowl LV halftime show on February 7, 2021, at Raymond James Stadium, self-funding approximately $7 million to retain creative control and extend the After Hours storyline with bandaged-faced doppelgangers and high-production choreography. The performance, drawing an estimated 96 million viewers, reinforced the album's visual motifs and synth-driven hits like "Blinding Lights" and "Earned It," amplifying its cultural resonance despite ongoing pandemic disruptions. This adaptive strategy, rooted in digital and broadcast platforms, underscored how external isolation inadvertently boosted the album's escapist appeal and streaming metrics.

Dawn FM and Conceptual Experimentation (2021–2023)

, The Weeknd's fifth studio album, was released on January 7, 2022, through XO and , adopting a styled as a late-night radio broadcast set in a liminal space. The project features narration by , who voices a DJ character introducing segments and framing the narrative as a journey from excess toward redemption, with interludes evoking 1970s-1980s FM radio aesthetics. Guest appearances include on "Here We Go... Again," on "I Don't Want You to Leave," and on production for several tracks, emphasizing collaborative experimentation over solo introspection. Musically, Dawn FM pivoted toward bright and new wave influences, drawing from 1980s electronic dance and to contrast the darker tones of prior works, with tracks like "Gasoline" showcasing stuttering synths, breakbeats, and lower-register vocals akin to styles. This shift represented a deliberate aesthetic evolution, prioritizing euphoric, club-oriented arrangements—such as the Bernard Sumner-inspired delivery in select cuts—over the hedonistic R&B of earlier albums, while maintaining thematic continuity in exploring consequence and renewal. The album debuted at number 2 on the US , reflecting initial commercial viability amid its format innovation. Listener engagement metrics underscored sustained appeal for this experimental direction, with accumulating over 5.66 billion streams on by late 2022, ranking among the platform's top albums that year despite varied critical responses emphasizing its hauntological nod to past pop eras over groundbreaking novelty. Tracks maintained high retention through algorithmic integration, evidenced by consistent daily plays exceeding millions into 2023, prioritizing empirical playback data over consensus acclaim. The After Hours Til Dawn Tour, launching on July 14, 2022, in , blended Dawn FM's radio motifs with hits from and earlier eras, staging a multimedia spectacle that provided narrative closure to themes of nocturnal indulgence by simulating a dawn transition via lighting and set design. This integration drove record-breaking financial performance for an R&B/hip-hop act in its initial phases, contributing to overall grosses surpassing $350 million from sold-out stadium shows by mid-2023, with over 2 million tickets sold in the first year alone, validating the conceptual risks through audience turnout metrics.

The Idol, Hurry Up Tomorrow, and Persona Closure (2023–2025)

In June 2023, Abel Tesfaye, known as the Weeknd, co-created the series The Idol alongside and Reza Fahim, starring as the cult leader Tedros in a plot involving a pop singer's entanglement with a self-help group revealed as a manipulative . The five-episode series premiered on and Max on June 4, 2023, but drew widespread criticism for its graphic depictions of exploitation and uneven execution, leading to production turmoil including reshoots under Tesfaye's increased directorial input to align with his vision. canceled the series after one season on August 28, 2023, citing completion of its intended story arc amid low viewership and backlash. Tesfaye released Hurry Up Tomorrow, the concluding in the trilogy initiated by After Hours (2020) and Dawn FM (2022), on January 31, 2025, via XO and . The 22-track project features collaborations including on "Timeless," Anitta on "São Paulo," on "Wake Me Up," and , Florence + the Machine, and on "Reflections Laughing," blending , R&B, and experimental elements to narrate themes of rebirth and finality. Preceded by singles "Timeless" and "São Paulo," the album served as the multimedia capstone, integrating with a companion film and tour announcements. On February 2, 2025, at the 67th Annual , Tesfaye ended his boycott—begun in 2021 after After Hours was overlooked for Album of the Year— with a surprise performance of "Cry for Me" and "Timeless" featuring dancers in stylized choreography. This appearance aligned with promotions for Hurry Up Tomorrow, underscoring the project's role in resolving his public narrative arcs. Concurrently, he announced a new tour, the film Hurry Up Tomorrow (directed by , starring Tesfaye alongside and , released May 16, 2025), and a broader reinvention termed "new everything." In January 2025 interviews, Tesfaye articulated the retirement of the "Weeknd" persona post-Hurry Up Tomorrow, attributing the decision to a mental breakdown that reframed his career trajectory and a reluctance to "overstay at the party," while affirming continued music production under his birth name, . This closure, echoed in album lyrics and visuals depicting existential unraveling and renewal, marked the endpoint of the character's drug-fueled, hedonistic saga originating from his early mixtapes, with the trilogy's releases providing empirical markers of thematic culmination through escalating conceptual cohesion and commercial data like chart dominance and the ongoing After Hours Til Dawn Tour's continuation in North America in 2025, which surpassed $1 billion in revenue to become the highest-grossing tour by a male solo artist.

Artistry

Influences and Inspirations

Tesfaye has repeatedly identified and Prince as foundational influences on his vocal delivery and musical innovation within R&B and pop frameworks, emulating their stylistic boldness and techniques from albums like Thriller (1982) and Purple Rain (1984). also ranks among his core inspirations, particularly for narrative-driven song structures reflective of urban experiences. These artists' emphasis on emotional intensity and genre-blending informed Tesfaye's early pursuit of a singer's career, with Jackson's work specifically credited for igniting his ambitions. His vocal foundation traces to Ethiopian music cassettes played by his mother, which shaped his "natural singing voice" through undiluted cultural immersion in Amharic-language tracks and traditional scales, predating broader Western exposures. This heritage manifests in melodic phrasings and emotional , as Tesfaye has described the "feeling" in his delivery as inherently African and potent beyond technical metrics. Ethiopian sounds' influence persists in live performances where he incorporates elements, linking his diasporic roots to output without dilution. The Toronto milieu contributed via Drake's moody, atmospheric production, which Tesfaye adapted into his initial synth-heavy R&B while crediting Drake's style as a reciprocal spark for the city's "Toronto sound"—characterized by hedonistic introspection and hazy beats. Early immersion in this OVO-adjacent ecosystem, including co-writing on Drake's Take Care (2011), reinforced a localized aesthetic of nocturnal excess, though Tesfaye initially shunned heavy contemporary listening to cultivate a distinct edge. Alternative acts like The Smiths provided lyrical melancholy, blending with 1980s pop echoes to form his synth-R&B hybrid, verified through self-citations and production lineages avoiding direct emulation. Culturally, horror films and 's cinematic grit shaped visual and thematic motifs, as seen in After Hours (2020) drawing from Scorsese's 1985 film of the same name for its nocturnal descent into urban paranoia and moral ambiguity. Drug culture's visceral realism, filtered through these lenses, informs aesthetic homages rather than mere replication, prioritizing causal narrative drivers over stylistic borrowing. This selective sourcing underscores a deliberate curation, evidenced by Tesfaye's interviews emphasizing heritage and forebears over transient trends.

Songwriting, Production, and Themes

The Weeknd's songwriting process originated in anonymous, confessional mixtapes during 2010–2011, where Abel Tesfaye drew directly from personal experiences of and transient relationships, often collaborating closely with producers like Martin "Doc" McKinney and Carlo "Illangelo" Montagnese to craft raw, stream-of-consciousness narratives. By the mid-2010s, following his mainstream breakthrough, Tesfaye shifted toward more structured, collaborative writing sessions involving songwriters such as Jason "" Quenneville, incorporating polished hooks and verse-chorus frameworks while retaining autobiographical elements, as evidenced by co-writing credits on tracks like "Starboy" (2016) with McKinney and others. This evolution reflected a move from lo-fi to commercially viable storytelling, with Tesfaye maintaining oversight through co-production roles across albums, including executive production on (2022). Production techniques emphasize atmospheric synth layers, extensive reverb on vocals to evoke isolation, and gradual escalations building to euphoric drops, hallmarks traceable to early work with McKinney and using guitars and analog synths for textured soundscapes. In later projects, such as (2020) to Hurry Up Tomorrow (2025) trilogy, Tesfaye co-produced with electronic specialists like , integrating cinematic elements—pulsing basslines and retro-futuristic pads—to underscore narrative arcs of excess and consequence, demonstrating his hands-on control via credits on over half the tracks in these releases. Recurring themes center on the realism of hedonistic pursuits—addiction's hollow grip, ephemeral pleasures from drugs and , and ambiguities arising from self-destructive cycles—often dissected in tracks like those from (2011), where lyrics portray indulgence as a pathway to emotional void rather than fulfillment. These motifs evolve into redemption narratives by Hurry Up Tomorrow, grounding abstract excess in Tesfaye's lived journey post-2014, with songs framing not as glamour but as causal precursor to isolation and regret, prioritizing unflinching autobiographical candor over sanitized pop tropes.

Vocal Delivery and Musical Style

The Weeknd's vocal delivery centers on a light-lyric range, with extending from low bass F to G#, and / reaching into the fifth for an approximate three- span overall. His production yields resonant, bright-toned highs with seamless chest-to-head transitions, precise pitch control in melismatic runs, and emotive at 5-6.5 Hz , evoking a haunted, ethereal quality. This technique fuses R&B traditions—marked by ornamental phrasing and dynamic emotional inflections—with pop hooks' melodic accessibility and trap's rhythmic sparsity in select tracks, defying strict genre bounds under the umbrella. His style evolved from the lo-fi, hazy vocal layering in mixtapes like —prioritizing atmospheric immersion—to arena-optimized clarity in albums such as Starboy (2016), where polished production amplifies vocal projection. integration, via tools like EFX on leads, functions as subtle enhancement to preserve natural dynamics rather than rigid correction, aligning with engineer Carlo Montagnese's view that the artist's emotion-driven phrasing demands minimal intervention: "His is extremely dynamic, based on feeling and emotion." Regarded as an originator of dark , The Weeknd's causally shifted the genre from EDM-pop hybrids toward introspective, moody electronics and -heavy introspection, evidenced by subsequent R&B diversification and peer adoption of similar sonic palettes.

Business Ventures

XO Label and Entrepreneurship

Abel Tesfaye, known professionally as The Weeknd, co-founded XO in 2011 alongside managers and , and creative director , initially as an independent imprint for self-releasing his debut mixtapes , , and . This structure enabled direct distribution via platforms like and free downloads, bypassing traditional gatekeepers and fostering organic fan growth through viral sharing, which amassed millions of streams prior to any major-label involvement. In September 2012, XO formalized a with , a , transitioning to a distribution that preserved Tesfaye's master ownership and creative autonomy while accessing broader marketing resources. Under this model, XO operates as a imprint, signing and developing artists with emphasis on equity retention; for instance, rapper NAV, signed in 2016, secured hits like "Myself" (peaking at No. 64 on the in 2018) and leveraged XO's infrastructure for collaborations, including with Drake. This approach contrasts with conventional major-label advances that often cede long-term royalties, as XO prioritizes backend profit shares—reportedly allowing artists up to 50% ownership post-recoupment—evident in NAV's catalog generating sustained streaming income without full label recoupment burdens. XO's entrepreneurship extends to diversified revenue streams beyond recordings, including merchandise lines launched in 2017 that have yielded approximately $1 million in initial sales through limited-edition drops tied to album cycles. Festival integrations, such as branded activations at events like Coachella, further amplify earnings via on-site sales and sponsorships, though exact figures remain proprietary. By 2022, an expanded Universal partnership incorporated merchandising rights and future catalog administration, solidifying XO's role in Tesfaye's portfolio. The label's acumen is underscored by its contribution to Tesfaye's catalog valuation, with XO-anchored masters driving streaming royalties—exemplified by over 86 billion total streams across his discography as of October —and enabling financing pursuits valued at up to $1.3 billion in prior sales attempts and $1 billion in debt raises secured against music IP. In December 2025, Tesfaye closed a catalog partnership with Lyric Capital Group valued at approximately $1 billion, one of the largest such deals for a contemporary artist and comparable to those for catalogs of major historical artists like Michael Jackson and Bob Dylan; the structure preserves significant equity retention and creative control for the artist. This ownership-centric model empirically empowers creators against exploitation risks, as retained equity from hits like "" (over 4 billion streams) translates to perpetual income, positioning XO as a for artist-led ventures in a streaming-dominated industry.

Fashion, Investments, and Brand Extensions

Tesfaye has cultivated a distinctive personal style characterized by monochromatic ensembles, , and tailored menswear, which has influenced trends in contemporary . His affinity for all- outfits and custom pieces, such as those tied to eras like Starboy, extends to capsule collections that reinforce his enigmatic image. In , he launched an XO-branded artist capsule for his Starboy: of the Fall tour, featuring apparel that aligned with his tour aesthetic and broadened his merchandise reach. Tesfaye partnered with on apparel lines to commercialize his style, starting with the Spring Icons menswear collection in early 2017, which offered affordable staples like jackets and shirts under $100 inspired by his wardrobe. This was followed by an 18-piece Fall 2017 collection incorporating XO motifs on , t-shirts, and bombers, available from September 28, emphasizing branded . However, after 's January 2018 ad controversy depicting a in a labeled "coolest in the jungle," Tesfaye ended the collaboration, citing misalignment with his values. These ventures demonstrated a branding strategy linking to his music narratives, though market performance data remains limited; the collections sold through channels but faced criticism for overbranding in some reviews. Beyond apparel, Tesfaye has pursued investments in tech-adjacent and sectors to diversify revenue streams. In 2021, he invested in Flowhub, a point-of-sale platform for retailers, aligning with emerging legalization markets and his interest in wellness-adjacent industries. He followed with a stake in Koia, a protein shake brand, in March , joining investors like Kevin Hart's Hart Beat Ventures to support functional beverage growth. Tracxn reports five total investments by mid-2025, spanning forex tech, digital remittance, and film studios, reflecting a calculated approach to high-growth areas rather than music core. These moves cultivate a mogul that bolsters album promotion by signaling financial independence and trend foresight. A key brand extension was Tesfaye's self-financing of the Super Bowl LV halftime show on February 7, 2021, investing $7 million personally to execute an After Hours-themed production with masked performers and narrative continuity from his prior visuals. This strategy prioritized artistic control over traditional sponsorships, yielding high ROI through amplified visibility; his manager estimated recoupment via post-show touring at $1.3 million per performance average, enhancing overall brand equity amid pandemic constraints. Such extensions tie directly to image cultivation, where self-funded spectacles sustain hype across album cycles, evidenced by 2017 earnings of $92 million partly from consistent branding and extensions. By late 2025, the closed $1 billion catalog partnership with Lyric Capital underscored scalable diversification, maintaining ownership while unlocking capital for further ventures.

Other Activities

Acting Pursuits

Tesfaye's first credited acting role was an uncredited cameo as himself in the 2019 crime thriller Uncut Gems, directed by Josh and Benny Safdie, where he appears in a nightclub scene confronting the protagonist Howard Ratner, played by Adam Sandler, reflecting his early "punk"-ier persona from around 2012. The film grossed $35 million worldwide against a $19 million budget, with Tesfaye's brief appearance serving primarily as a nod to his rising music fame rather than a substantive performance. In 2023, Tesfaye took a lead role as Tedros, a sleazy owner and cult-like figure manipulating a pop star, in the miniseries The Idol, which he co-created with and Reza Fahim. Premiering on June 4, 2023, the series drew 913,000 total viewers across HBO linear and Max streaming on its debut night, marking a 17% decline from the premiere of Levinson's in 2019. Viewership dropped further, with the second episode attracting 800,000 viewers in same-day metrics, indicating limited broader appeal despite ties to music promotion through integrated performances and soundtrack releases. Tesfaye described Tedros as intentionally "a loser" exploiting industry vulnerabilities, aligning the character with themes of from his , though empirical reception via audience scores and ratings underscored constraints from his novice status and persona overlap. Tesfaye's acting output remains sparse, with roles often blurring into extensions of his musical identity, as evidenced by the self-referential lead in the 2025 film Hurry Up Tomorrow, directed by , where he portrays a fictionalized version of himself stalked by a fan. This pattern suggests causal linkage to brand synergy over independent dramatic range, with no major or critical benchmarks yet to indicate expanded versatility beyond music-adjacent narratives.

Philanthropy and Social Contributions

Abel Tesfaye, known as The Weeknd, was appointed a for the (WFP) in October 2021, focusing on global hunger relief efforts. Through his XO Humanitarian Fund, he has contributed and pledged over $6.5 million to WFP initiatives, enabling the delivery of food assistance to millions facing severe hunger. This includes raising approximately $5 million from his North American in 2022, where $1 per ticket sold and proceeds from exclusive merchandise were directed to the fund. In April 2021, prior to his ambassadorship, Tesfaye donated $1 million to WFP's Ethiopia relief efforts amid conflict in the , funding 2 million meals for affected populations; this aid targeted areas of acute food insecurity exacerbated by violence, with WFP reporting distribution to displaced families. His Ethiopian heritage, stemming from his parents' origins, informed this targeted support, though broader critiques of celebrity note potential inefficiencies in selective regional aid; nevertheless, WFP metrics indicate the donation directly supported immediate caloric needs in a where risks affected over 350,000 people at the time. Subsequent contributions included $2 million in April 2024 to provide 18 million loaves of bread to families in Gaza, addressing acute in conflict zones. Tesfaye's philanthropy extends to crisis response without overt political advocacy, emphasizing direct resource allocation. In June 2020, he donated $500,000 to the MusiCares COVID-19 Relief Fund to aid musicians facing income loss from pandemic shutdowns, and another $500,000 to the Scarborough Health Network in his Ontario hometown for frontline worker support and community health needs. These efforts, totaling over $1 million for COVID-19 relief, prioritized verifiable frontline impacts such as medical equipment procurement and financial aid to vulnerable artists, aligning with a pattern of quantifiable outcomes over symbolic gestures. Overall, his reported donations exceeded $8 million by 2022 across hunger and emergency aid, with WFP attributing specific meal equivalents to his funding as a measure of efficacy.

Personal Life

Relationships and Privacy

The Weeknd, born Abel Tesfaye, began a high-profile on-and-off relationship with model Bella Hadid in 2015, first spotted together at Coachella that April before confirming their romance publicly later that year. The couple split in November 2016 amid reports of differing lifestyles, reconciled briefly in 2018 after being seen kissing at Coachella, and ended permanently in 2019, with Tesfaye later reflecting on the emotional toll in his music without detailing private matters. In early 2017, shortly after his initial split from Hadid, Tesfaye dated singer for approximately 10 months, beginning in January and ending in October amid compatibility issues and her health concerns. Their romance drew intense media scrutiny, including photos from trips to and , but Tesfaye has not publicly commented extensively on it beyond lyrical allusions in songs like "," which references unrequited emotional investment. Since 2019, Tesfaye has adopted an even stricter stance on privacy, rarely confirming romantic involvements and avoiding disclosures about potential partners, such as rumored links to DJ Simi Khadra starting in 2022. He has expressed aversion to , describing it as "scary" in a 2017 interview and indicating a preference for having children prior to wedlock, though as of October 2025, he remains unmarried with no children. This reticence extends to legal measures like non-disclosure agreements and limited engagement, critiquing media intrusions as violations that fuel unsubstantiated speculation rather than respecting . Patterns in his relationships correlate with recurring lyrical themes of transient heartbreak and , derived from firsthand experiences, though these do not imply endorsement of relational instability as normative.

Sobriety, Health, and Personal Growth

In January 2015, Abel Tesfaye was arrested in on suspicion of misdemeanor battery after punching a in the head during a scuffle involving a fight between his entourage and hotel security. He was released after posting $500 and later pleaded no contest to the charge in October 2015, receiving and avoiding jail time. The incident highlighted impulsive behavior amid his documented history of heavy substance use, which he later described as enabling erratic actions during peak addiction periods. Tesfaye has acknowledged drugs as a creative crutch in his early years, contributing to extended, unstructured song lengths and periodic that persisted into later albums like Starboy (2016). By 2021, he reported quitting hard drugs entirely, adopting a "sober lite" approach limited to occasional marijuana and alcohol, which he credited with eliminating dependency for artistic output. This transition followed an "off-and-on" relationship with substances into 2020, after which he maintained abstinence from harder drugs. Post-2021 sobriety, Tesfaye demonstrated enhanced professional reliability, completing high-intensity tours such as the After Hours Til Dawn stadium run from 2022 to 2023—delayed from 2020 but executed without substance-related cancellations—grossing over $200 million across 70 dates despite a brief 2022 vocal loss at SoFi Stadium from which he recovered within weeks. This contrasts with earlier career unreliability, including limited live performances tied to drug-induced vocal strain and creative inconsistency before 2016. The shift supported sustained output, with annual releases like Dawn FM (2022) and Hurry Up Tomorrow (2025), linking reduced substance reliance to prolonged career endurance under rigorous stage demands requiring precise choreography and endurance.

Controversies

Feuds with Peers

The Weeknd's most notable tensions with peers have centered on his early mentor and collaborator Drake, stemming from a mix of professional expectations and personal overlaps. In 2010, Drake first promoted The Weeknd's nascent mixtape tracks on his OVO blog, providing crucial exposure that helped launch the artist's career. By 2011, they collaborated on "" from Drake's album Take Care, but The Weeknd declined to sign with Drake's label, opting instead for a major deal with , which reportedly left Drake feeling unappreciated. Tensions escalated in November 2015 amid Drake's public feud with over ghostwriting allegations, when The Weeknd revealed in a interview that he had written complete songs for Drake—tracks ultimately unused—which amplified perceptions of reliance on external contributions in Drake's process. Despite the strain, the pair reconciled professionally with Drake's feature on The Weeknd's "Starboy" single in September 2016, which debuted at number one on the and propelled the album to over 18 million global sales without apparent commercial disruption from the discord. Subsequent friction arose in 2017 when The Weeknd briefly dated model , followed by her short romance with Drake, prompting cryptic social media posts from The Weeknd interpreted as shading his counterpart. Lyrics on The Weeknd's 2019 track "" were seen by some as indirect jabs at Drake regarding ex-partners and trustworthiness, though neither artist escalated publicly. In April 2024, amid Drake's broader conflicts with artists like and , The Weeknd contributed to and Metro Boomin's album We Still Don't Trust You, with lines such as references to "pillow talkin'" and fake alliances viewed as subliminal shots at Drake's personal disclosures and alliances. Drake responded subtly in November 2024 during a livestream, requesting a host turn off The Weeknd's playing track with the comment, "We don't listen to that." These exchanges reflect normative competitive undercurrents in hip-hop and R&B, where public spats rarely halt output—The Weeknd's (2022) and After Hours (2020) both exceeded 5 million units sold globally, while Drake maintained dominance—prioritizing career momentum over prolonged confrontation. Perceived friction with Usher in 2020 arose from The Weeknd's comments in a Variety interview accusing Usher's 2012 single "Climax" of mimicking his dark R&B aesthetic, particularly after producer Diplo credited Usher with innovating the sound. The Weeknd later clarified in an Esquire profile that no genuine feud existed, stating he had apologized to Usher, whom he cited as an influence, and emphasized admiration over animosity.

Plagiarism and Creative Ownership Disputes

In December 2015, The Weeknd (Abel Tesfaye) and the song's co-writers faced a lawsuit over "The Hills," the from his album , alleging unauthorized sampling of a bassline from the score of the 2013 British sci-fi film The Machine, composed by Tom Raybould. The suit, filed by Cutting Edge Music on behalf of Raybould, claimed the track's low-end synth riff and atmospheric elements directly lifted from the film's soundtrack without clearance or credit, despite Tesfaye publicly praising the movie on prior to the song's release. Audio comparisons highlighted structural similarities in the bass progression and tension-building motifs, though defenders argued such elements are common in electronic and darkwave production genres influenced by synth aesthetics. The case settled out of court with an undisclosed agreement, resulting in no formal admission of but leading to retroactive credits for Raybould in subsequent releases and performances. Similar ownership claims arose in September 2021 when songwriters Suniel Fox and Henry Strange sued Tesfaye, along with co-producers, over "Call Out My Name" from the 2018 EP My Dear Melancholy,, asserting it copied melodic and chord structures from their 2017 instrumental track "Vibeking." Plaintiffs pointed to side-by-side analyses showing overlapping piano riffs and emotional builds, positioning the dispute as an instance of uncredited derivation rather than homage. The Weeknd's team contested the allegations, emphasizing independent creation amid shared genre conventions in R&B balladry, but the parties reached a confidential settlement in March 2023, avoiding trial and public forensic audio breakdown. Additional creative ownership friction emerged in 2019 when creator Eymun Talasazan filed a suit against Tesfaye for using "Starboy" as an album title and persona, claiming prior rights to the term from his 2010 series featuring a character of the same name. The complaint argued dilution of Talasazan's established brand in visual media, though Tesfaye's usage drew from Prince's symbol-era pseudonymity and new wave influences, not direct emulation. The case resolved via settlement, with no of bad-faith copying presented in filings, underscoring how thematic overlaps in pop often lead to preemptive legal resolutions rather than proven . These disputes highlight a pattern where Tesfaye's production, reliant on layered samples and nostalgic synth recreations, prompts claims but typically concludes in negotiated credits or payments, distinguishing referential artistry from verifiable infringement absent exhaustive waveform matching.

Lyrics Scrutiny and Cultural Backlash

The Weeknd's lyrics, particularly from his early mixtapes and collaborations, have faced accusations of promoting homophobia and , primarily from users and outlets critiquing specific lines for perceived insensitivity. In the track "" with , released on January 11, the line "It was just a phase, you were tryna be a freak" was interpreted by critics as dismissing same-sex attraction in women as temporary experimentation, sparking backlash on platforms like within days of release. This interpretation framed the narrative as biphobic, with commentators arguing it reinforced violence against bisexual women by invalidating their experiences. However, textual analysis reveals the lyrics as a first-person heterosexual fantasy, where the narrator expresses over an ex-partner's bisexual encounters to reclaim intimacy, rather than a blanket condemnation of ; the song's chorus emphasizes mutual desire ("I wanna f**k you and your best friend"), aligning with hedonistic themes absent broader anti-LGBTQ patterns across Tesfaye's , which consistently depicts heterosexual male perspectives on sex and without recurrent homophobic motifs. Accusations of stem from objectifying language in tracks like "The Hills" (2015), where women are referred to derogatorily amid depictions of drug-fueled encounters, and "Often" (2014), which details casual sex with emphasis on physicality. Critics, including academic analyses, have labeled these as endorsing submissiveness or body-part reductionism, tying them to a toxic persona romanticizing abuse in Toronto's nightlife scene. Tesfaye countered in an August 2020 interview that such lyrics represent a fictional character drawn from his youth, not personal endorsement, evolved since his sobriety; he emphasized narrative distance, noting the same tracks portray women as complicit in excess ("She asked me if I do this every day, I said often"). Empirical fan reception supports this, with albums like (2015) selling over 3 million copies globally and streaming billions without sustained boycotts, indicating audiences distinguish artistic excess from advocacy. This scrutiny reflects broader cultural pressures to retroactively censor expression based on subjective offense, often amplified by ideologically aligned media, yet lacking causal evidence of harm; "Lost in the Fire" peaked at number 27 on the despite the uproar, underscoring artistic liberty's resilience against selective outrage that overlooks intent and context in favor of impact policing. Such backlash attempts, rooted in post-#MeToo sensitivity norms, have not demonstrably altered Tesfaye's output or popularity, as his catalog's hedonistic realism—mirroring raw human impulses—prioritizes unfiltered storytelling over sanitized conformity.

Grammy Snub and Industry Politics

The album After Hours, released on March 20, 2020, achieved unprecedented commercial dominance, topping the for four non-consecutive weeks, generating over 444,000 album-equivalent units in its debut week, and spawning the single "," which became the longest-running number-one hit on the Hot 100 with 90 weeks and the most-streamed song of 2020 globally. Despite this empirical success, the album and its singles received zero nominations for the 63rd , announced on November 24, 2020, marking a complete shutout amid widespread industry surprise. In response, The Weeknd publicly accused of corruption, tweeting on nomination day that "the Grammys remain corrupt" and demanding transparency from the process, which relies on secretive expert committees for categorization and final selections rather than pure voter merit. On March 11, 2021, he announced a of future submissions, stating to , "Because of the secret committees, I will no longer allow my label to submit my music to the Grammys," citing longstanding opacity in the nomination system that the Academy itself had partially reformed in 2019 amid scandals and voting irregularities. centered on classification disputes, as new 2020 R&B voting rules empowered specialized committees, potentially leading pop/R&B hybrid works like After Hours to fall between categories without consensus, highlighting a structural undervaluation of R&B-leaning pop in Academy preferences that favor narrower silos over crossover commercial impact. This exclusion underscored a disparity between verifiable market metrics and Grammy nods: while After Hours drove billions in streams and sales—far outpacing many nominated albums in raw consumption data—the Academy's prioritized subjective judgments, often critiqued for reflecting voter demographics skewed toward legacy industry insiders rather than contemporary audience realities. The snub's causal roots appear tied to institutional gatekeeping, where merit-based dominance yields to opaque politics, as evidenced by the Academy's historical underrepresentation of urban/R&B genres despite their streaming supremacy, prompting broader artist skepticism toward the awards' legitimacy. Public and fan backlash vindicated The Weeknd's commercial primacy, with "" sustaining over 4 billion streams by 2021 and After Hours certifications exceeding 3 million units in the U.S., outcomes unmarred by Grammy validation and instead amplified by organic listener metrics that bypassed institutional filters. The persisted until February 2, 2025, when he staged a surprise performance at the 67th , delivering "Cry for Me" and "Timeless" featuring , signaling a pragmatic return amid the Academy's ongoing reforms without formal submission or nomination involvement. This event underscored empirical leverage over awards politics, as his enduring streaming dominance—independent of Grammy endorsement—affirmed market-driven success as the ultimate arbiter.

The Idol Production and Reception Issues

The HBO series The Idol, co-created by Abel Tesfaye (The Weeknd), , and Reza Fahim, encountered significant production challenges prior to its June 5, 2023 premiere. Initial filming under director concluded in February 2022, but Levinson subsequently overhauled the narrative, shifting focus from lead Lily-Rose Depp's character to Tesfaye's cult-leader figure, prompting extensive reshoots that inflated costs and delayed release by over a year. HBO acknowledged that early footage "did not meet standards," leading to revisions amid reports of a disorganized set environment. Upon airing, the series faced immediate backlash for scenes perceived as exploitative and misogynistic, particularly a prolonged Episode 2 sequence involving Depp's character in a domineering sexual encounter with Tesfaye's, labeled by critics as "torture porn" and gratuitous. Outlets like TIME accused it of reveling in the exploitation it purported to , while mainstream reviews amplified claims of female despite the show's satirical intent toward predation. Tesfaye defended the content in a June 2023 GQ , stating the scenes were deliberately unsexy and designed to evoke discomfort, embarrassment, and unease rather than arousal, aligning with the character's manipulative dynamic. He reiterated this in subsequent comments, noting the negative reactions were "very much expected" given the purposeful aversion to eroticism. Empirical viewership data underscored the series' underwhelming performance over its five episodes, with the premiere drawing 913,000 total viewers across linear and Max streaming—17% below 's 2019 launch—and subsequent episodes showing declines, such as Episode 2's dip. Critical aggregation reflected this, yielding a 19% score, but audience metrics indicated broader disinterest rather than cancellation solely from amplified minority outrage in biased media circles. axed the show on August 29, 2023, after one season, citing unsustainable costs against low retention amid the production's reported $54-75 million reshoots, though Tesfaye's music career sustained no measurable downturn from the fallout. This outcome highlights how preemptive sensitivity to discomfort-driven critiques, often elevated by institutional outlets, can overshadow artistic provocation when unbolstered by audience engagement.

Legacy and Achievements

Commercial Milestones and Records

The Weeknd's single "" achieved unprecedented streaming success, becoming the first song to surpass 5 billion streams on as of August 31, 2025. This milestone underscored its dominance, having previously topped Billboard's Greatest Hot 100 Songs chart and logged 90 weeks on the Hot 100, the longest run for any track in that chart's . His overall catalog has amassed over 85 billion streams on as lead artist, with seven tracks exceeding 2 billion streams each—the most for any artist—and 30 songs surpassing 1 billion, reflecting sustained digital consumption. On physical and equivalent sales metrics, The Weeknd has generated 116.3 million equivalent album units worldwide, led by Starboy with 23.4 million units, including 1.4 million in pure sales. His albums have also shown remarkable longevity on charts; Starboy reached 400 weeks on the by July 2025, marking his first to achieve that endurance. He holds the distinction of entering over 100 songs on the , with seven reaching number one, including "Blinding Lights," "Save Your Tears," and "The Hills." Live performances have further quantified his commercial prowess, with the After Hours Til Dawn Tour grossing over $600 million and selling more than 4 million tickets worldwide since , establishing it as one of the highest-earning tours by a Black artist. This revenue stream complemented his ascent from self-released mixtapes like in 2011, which gained viral traction on platforms like without initial major-label support, evolving into stadium-level draws through organic fan growth and hit-driven albums.

Awards, Recognition, and Critical Assessment

The Weeknd has received four Grammy Awards from 14 nominations, including Best Urban Contemporary Album for Beauty Behind the Madness in 2016 and Best R&B Performance for "Earned It" that same year. His absence from nominations for the commercially dominant After Hours album in 2021 prompted a public boycott of the Grammys, which he described as lacking transparency and fairness, underscoring perceived mismatches between artistic merit, sales performance, and award outcomes. He ended the boycott with a surprise performance at the 67th Annual Grammy Awards on February 2, 2025, featuring "Timeless" with Playboi Carti, following the submission of his album Hurry Up Tomorrow for consideration. This return highlighted ongoing tensions in the awards process, where subjective voter preferences can lag behind verifiable public reception metrics like streaming volumes and chart longevity. Beyond Grammys, he holds records for the most won by a male artist, with 22 honors, including , Album of the Year for Dawn FM, and Single of the Year for "Sacrifice" at the 2023 ceremony. He has secured six , recognizing achievements in categories like Favorite Soul/R&B Male . These accolades, while affirming peer and industry validation, often correlate more closely with domestic Canadian success for Junos and broad popularity for AMAs than with unfiltered artistic innovation, as evidenced by his early era receiving outsized praise relative to later pop-leaning works. Critical assessment of The Weeknd's oeuvre reveals a trajectory from underground acclaim to polarized mainstream evaluation, with early releases like the mixtape lauded for their raw, atmospheric R&B experimentation, contrasting later albums critiqued for formulaic pop shifts. earned an 8.0 from for its conceptual radio-station motif, yet Hurry Up Tomorrow drew a 7.8 alongside descriptors of it being "opulent, elegant, and occasionally exasperating," reflecting fatigue with repetitive thematic indulgence. Reviewers like noted its exhausting sincerity over 90 minutes, prioritizing sonic excess over lyrical depth. Such critiques, often from outlets with established tastes favoring niche genres, undervalue empirical indicators of influence—such as sustained fan engagement and billions in streams—which demonstrate broader causal impact beyond critic consensus, positioning awards as retrospective rather than predictive measures of cultural resonance.

Cultural Impact and Broader Influence

The Weeknd's early mixtapes, released in 2011, spearheaded the dark R&B subgenre by integrating moody atmospheres, explicit narratives of and despair, and unconventional samples from punk and , diverging from the era's dominant EDM-infused pop-R&B sound. This approach disrupted traditional R&B conventions, which had leaned toward neo-soul or upbeat , by prioritizing raw, nocturnal aesthetics that echoed 1980s influences like while incorporating Ethiopian vocal inflections from his heritage. Adoption of this subgenre is evident in subsequent artists adopting similar atmospheric production and thematic candor, fostering a wave of that prioritized emotional vulnerability over polished escapism. His visual storytelling in music videos, characterized by cinematic surrealism and gothic opulence, has shaped contemporary pop aesthetics, establishing a template for immersive, narrative-driven visuals that blend high with dystopian motifs. This influence extends to , where his preference for monochromatic, oversized silhouettes and emo-grunge elements has been emulated in trends, contributing to a broader cultural shift toward androgynous, nocturnal styling in urban . By normalizing explicit explorations of , fleeting intimacy, and psychological fragmentation in mainstream lyrics, The Weeknd challenged prudish undercurrents in R&B, prompting a reevaluation of genre boundaries and enabling more unfiltered depictions of urban vice that resonated amid rising discourse. As an Ethiopian-Canadian artist, The Weeknd's incorporation of heritage elements—such as linguistic traces and cultural motifs referencing the era his parents fled—introduced realistic diversity into global pop, countering homogenized representations by grounding abstract themes in immigrant resilience and non-Western sonic palettes. His initial free online release of mixtapes via platforms like and blogs democratized music access, bypassing label gatekeeping and elite curation; this model empirically empowered independent artists by demonstrating viral —garnering millions of streams pre-label deal—and inspired a causal chain of strategies that eroded traditional industry hierarchies. Long-term, this has projected a more merit-based ecosystem, where empirical listener data over executive fiat determines viability, though mainstream adoption has since hybridized with corporate co-optation.

Tours and Performances

Major World Tours

The Weeknd's Starboy: Legend of the Fall Tour, supporting his 2016 album Starboy, ran from November 2016 to November 2017 and grossed $82.2 million across numerous dates in and , marking a shift toward larger and venues. This tour featured enhanced production elements, including upgraded setups that elevated the visual and auditory experience beyond previous efforts. His subsequent , launched in January 2022 after delays due to the , became his most ambitious outing, spanning stadiums worldwide and grossing $635.5 million with 5.1 million tickets sold as of August 2025. The tour's European leg alone generated $158.1 million from 30 shows attended by over 1.6 million fans, setting records such as the highest single-night attendance at London's with 80,000 tickets sold. adaptations included virtual experiences like the immersive concert "The Weeknd Experience" in August 2020, bridging the gap until live touring resumed.
Tour NameDurationGross RevenueTickets Sold
Starboy: Legend of the Fall2016–2017$82.2 millionNot specified
After Hours til Dawn2022–ongoing$635.5 million5.1 million
These tours demonstrated evolving production with narrative staging that integrated thematic elements from After Hours and , such as cinematic visuals and character-driven performances, contributing to their commercial dominance. Overall, The Weeknd's concert career has amassed $734 million in grosses from over 200 shows since 2012.

Iconic Live Events and Stadium Shows

The Weeknd's Super Bowl LV halftime show on February 7, 2021, marked a pivotal solo spectacle, featuring a 13-minute medley of hits such as "Starboy," "The Hills," "Can't Feel My Face," and "Blinding Lights," staged amid a narrative of masked performers and his own bandaged visage to evoke the After Hours album's aesthetic. He personally contributed $7 million to production expenses, supplementing the NFL's budget, to realize the elaborate vision without corporate sponsorship constraints. The broadcast attracted approximately 96.6 million U.S. viewers, underscoring his capacity to command massive audiences in a format typically shared among multiple acts. In April 2022, The Weeknd co-headlined the Coachella Valley Music and Arts Festival's closing night, stepping in after Kanye West's withdrawal, and delivered a set blending his catalog with Swedish House Mafia collaborations, including renditions of "Heartless," "Save Your Tears," and "Moth to a Flame." This performance, reportedly the highest-paid in Coachella history up to that point, highlighted his draw as a festival closer, drawing tens of thousands to the Empire Polo Club amid a resurgence of live events post-pandemic. The Weeknd made a surprise return to the stage on February 2, 2025, performing "Cry for Me" and "Timeless" featuring , flanked by dancers under strobe lighting, ending a prior over nomination disputes. This appearance, broadcast to millions, reaffirmed his live prowess in high-stakes televised formats despite industry tensions. A planned one-night show at the Rose Bowl on January 25, 2025, tied to the Hurry Up Tomorrow album release, was cancelled due to Los Angeles wildfires, depriving fans of what was billed as an in-the-round spectacle but preventing it from manifesting as a landmark event. These standalone outings, distinct from extended tours, empirically demonstrate his appeal through peak viewership and attendance metrics, such as the Super Bowl's audience scale exceeding many comparable broadcasts.

Discography

Studio Albums

The Weeknd's studio albums, beginning with his debut proper following the 2012 Trilogy compilation of earlier mixtapes, have consistently achieved high commercial performance on the chart. His first studio album, , released on September 10, 2013, debuted and peaked at number two on the with 95,000 album-equivalent units in its first week. The album has been certified by the RIAA, denoting 500,000 units sold or streamed in the United States. Beauty Behind the Madness, his second studio album, arrived on August 28, 2015, and debuted at number one on the Billboard 200. It holds a six-times platinum certification from the RIAA for over 6 million units. The third album, Starboy, was released on November 25, 2016, also reaching number one on the Billboard 200. It earned a six-times platinum RIAA certification. After Hours, released March 20, 2020, topped the chart upon debut. The follow-up, , issued on January 7, 2022, peaked at number two on the and received a . His sixth studio album, Hurry Up Tomorrow, released on January 31, 2025, debuted at number one on the with 490,500 album-equivalent units in its opening week.
AlbumRelease DateBillboard 200 PeakRIAA Certification
Kiss LandSeptember 10, 20132Gold
Beauty Behind the MadnessAugust 28, 201516× Platinum
StarboyNovember 25, 201616× Platinum
After HoursMarch 20, 20201-
Dawn FMJanuary 7, 20222Platinum
Hurry Up TomorrowJanuary 31, 20251-

Mixtapes, EPs, and Compilations

The Weeknd's early career was marked by three self-released mixtapes distributed for free via his XO label and official website in 2011, establishing his signature dark R&B sound centered on themes of , , and . , the debut mixtape, was released on March 21, 2011, comprising nine tracks produced primarily by and , with samples from and . , the second installment, followed on August 18, 2011, featuring eight tracks that continued the narrative arc, including collaborations with producers like Dropx Life and guest vocals from Drake on "The Zone." , released December 21, 2011, concluded with nine tracks, emphasizing introspective and synth-heavy production while incorporating elements from 1980s new wave influences. These mixtapes were later compiled and remastered for Trilogy, a commercial release on November 13, 2012, through Republic Records, which bundled all 24 original tracks across three discs and added three exclusive bonus songs per section—"Till Dawn (Here Comes the Sun)," "Circles," and "Adaptation"—expanding the runtime to 30 tracks and marking his major-label debut. In 2018, The Weeknd issued My Dear Melancholy, his first official EP, on March 30 through XO and Republic Records, a six-track project produced by the likes of Skrillex and Frank Dukes, delving into heartbreak and reconciliation with a return to atmospheric, minimalistic beats akin to his early work.
TitleTypeRelease DateLabel(s)Track CountKey Producers/Notes
March 21, 2011XO9, ; free digital release introducing dark R&B aesthetic.
August 18, 2011XO8Dropx Life; features Drake; builds on hedonistic themes.
December 21, 2011XO9; synth-driven, narrative closure to 2011 series.
CompilationNovember 13, 201230Remasters of three mixtapes + 9 bonus tracks; commercial expansion.
My Dear Melancholy,EPMarch 30, 2018XO/6, ; post-breakup themes, surprise release.

References

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