Image via YouTube/NFL
Before the Weeknd took the stage at Super Bowl LV in Tampa, Florida, on Sunday night, it was revealed that he spent $7 million of his own money to make sure the show lived up to his own standards. This revelation came after previous reports indicated that he chose to perform at the halftime show instead of the Grammys.
By all accounts, this performance was very important to Abel Tesfaye. Nearly ten years after releasing his debut mixtape, House of Balloons, he had an opportunity to showcase his discography under the brightest lights in the world. And, in the midst of a pandemic, CBS’ claims that this was “the biggest concert of the year” weren’t hyperbolic for once. Despite all the cardboard cutouts in the stands, this was a chance for everyone to experience a live music spectacle again, even if we had to watch it through our TVs at home.
So, how did he do? Did he live up to expectations? How will the performance be remembered in the context of past halftime shows? On the morning after the Super Bowl, Complex Music writers Eric Skelton and Jessica McKinney are joined by Complex’s resident Weeknd superfan (social media editor Waiss Aramesh) to evaluate Abel’s performance.
How did it compare to past Super Bowl halftime shows?
Eric: This performance was unique in a few ways. First, of course, is the fact that the Weeknd was performing in a mostly-empty stadium full of cardboard cutouts and artificial crowd noise. But it was also different in the sense that he didn’t bring out any big guest stars or pull any headline-grabbing stunts. Instead of dueting with A-list collaborators, making any political statements, paying tribute to anyone, or supplying Twitter with heavy-handed meme-bait, Abel stuck to the music. Because of this, there were no mindblowing surprise guests, no wardrobe malfunctions, and definitely no Selfie Kids to give casual fans something obvious to talk about at work today. Instead, he focused on sharing highlights from his catalog, celebrating his unlikely rise from mysterious blogosphere singer to the heights of superstardom. It was a good performance that will go down as an important moment in the arc of a phenomenal career, but it won’t be as memorable as some halftime shows of the past (for better or worse).
Waiss: To sum up everything about the last 11 months, it was different. Where it perhaps lost out on the grandiosity of Prince (the greatest halftime show of all time) and rightfully omitted the gimmicks (I don’t really yearn for Abel next to a dancing shark), it delivered one of the most cinematic Super Bowl halftime shows yet. I also think we need to contrast not just the shows, but the circumstances around it. Any feat of this magnitude, musical or otherwise, executed at a high level during the COVID-19 pandemic deserves praise. This isn’t mental gymnastics or looking for excuses. Abel and the rest of the XO crew deserve a lot of props for making this happen. With less resources at their disposal, they managed to put on a show whose entertainment value rivaled almost each year’s past—and made something traditionally macro feel almost intimate.
Jessica: Compared to previous years, there were obvious differences like the lack of a live audience because of the pandemic. Although the absence of screaming fans doesn’t seem like an important factor, I think it made the performance a little less lively. Even so, like many performances before him, his set designs were grand and the choreography was sharp. Overall, the 14-minute show did keep my interest.
What was the best part?
Eric: Everything that happened after Abel stepped on the field. That’s when he really hit his stride. Taking advantage of the fact that no fans were on the field, he was able to stomp around with his crew of bandaged dancers, looking far more comfortable than he did the rest of the night. The first song he played in this sequence was “House of Balloons,” which was a bit of a mindfuck for anyone who was tapped into his career when that song first came out. Back then, Abel wouldn’t even show his face, and now, here he was performing the song at the goddamn Super Bowl a decade later. Incredible. He followed that up with his massive After Hours hit, “Blinding Lights,” which ended by him lifting his hands in the air, tilting his head back, and flashing the biggest smile we’ve ever seen on his face. That was a special moment to watch for anyone who has been the least bit invested in his career, which made up for some missed opportunities earlier in the set (more on that in a minute).
Waiss: The “House of Balloons” into “Blinding Lights” transition. If you allow me to hop onto my soapbox for a minute, I’ll say there’s been a lot of dialogue about the Weeknd’s journey from where he was just ten years ago to where he’s managed to ascend to now. I think a lot of twenty-somethings like myself, who grew up with the tapes and then the brooding hits and then the big stadium anthems, have affinity for someone they feel like they grew up with. To see Abel give a nod to where he’s from, and then usher into where he is now was incredibly satisfying to see. Some older fans might long for the darker, more mysterious and subdued Weeknd of old, which is everything “Blinding Lights” is not. Not me. I’m happy to see an artist who has brought me almost a decade’s worth of thrills and entertainment live up to becoming one of the biggest names in music (this is starting to get corny, I got to wrap it up) and have another career-defining moment under his belt.
Jessica: I loved how dark the whole performance was. The stage sets and props looked like they were designed in “night mode,” and the costume designs of the dancers—who were wearing red and black suits and donned bandages on their faces—looked like they were ripped from a classic horror film (specifically during the choreographed dancing on the field). It was also great to hear a setlist that fit the theme of the night. The Weeknd played records from earlier in his career, like “The Hills” and “Cant Feel My Face,” both of which discuss topics of sex and heavy drug use. The performance was definitely on brand for who the Weeknd is as an artist, but it also did a great job of capturing what a bleak year 2020 was for all of us.
What was the worst part?
Eric: The sound. When Abel started singing “Starboy,” I thought something was wrong with my TV. His voice was being drowned out by the music and what seemed to be artificial crowd noise. Something was wrong with the mix and he sounded flat. On the plus side, it was cool to see that he seemed to actually be singing live on such a big stage like this, but something about the audio was shaky. This put a damper on the whole first half of the performance, until the audio got better in the back half of the performance. I was also disappointed that there wasn’t more of “a moment,” which could have potentially been achieved by bringing out a guest, performing a cover, making some kind of a statement, or being more experimental with the set design.
Waiss: Someone tell the audio engineer I just want to talk. The sound mixing at the top of the set was really the only snag of the performance. Let’s get something out of the way: anyone who thinks the Weeknd doesn’t have the vocal ability to pull off a halftime show either doesn’t pay attention or doesn’t care. The way he held the note at the end of “Earned It” is proof of that. For whatever reason, Abel’s mic was really low during “Starboy” and “The Hills,” and his vocals felt overpowered by the instrumental. It was a bit like watching those all-too-often rough SNL performances where all you can hear is the instrument and the vocal struggling to come through. This isn’t a unique problem when it comes to the annual Super Bowl spectacle, though. Go peep some other halftime performances and you’ll see moments where the audio just seems a little off.
Jessica: I wish the Weeknd could’ve played more into his After Hours character. Yes, he was dressed in costume and there were a few set designs that were modeled after his music videos, but I was hoping for more theatrics. It would have been nice to see some role-playing or drama similar to the energy he brought to the 2020 American Music Awards. Of course, the Weeknd doesn’t deserve all the blame. COVID-19 probably prevented him from achieving everything that he wanted, but it still would’ve been nice to see him be more invested in creating this alternate reality for viewers. Also, it’s worth mentioning that the sound in the beginning of his performance was completed butchered. The sound guy had one job. Luckily, it started to even out towards the middle of the performance, but the tech issues definitely took away from the initial excitement.
What was the biggest surprise?
Eric: Part of me is still a little blown away that the same guy who was mysteriously sharing dark, moody mixtapes like House of Balloons ten years ago is now playing the Super Bowl and translating some of his cocaine-laden songs to an audience of middle-aged parents in Arkansas and shit. Beyond that, though, I’m a little surprised there were no big surprises. Super Bowl performers often rely on some kind of a stunt to ensure there’s an easy moment for casual fans to latch onto. So I’m surprised Abel didn’t bring out a guest or make a political statement (like he did at the VMAs) or something along those lines.
Waiss: All the guys in the bandages. When theNew York Timessaid that almost 1,100 people were involved in The Weeknd’s performance, that seemed high. Now that makes sense. I’ve seen some people complain about the lack of surprise guests and I could not be less bothered. Sure, I am biased, but there was something refreshing about just seeing a dude singing his hits and making something visually pleasing that doesn’t rely on shock value or draw attention away from the music.
Jessica: The biggest surprise was that the Weeknd went solo the entire time. Sure, this year didn’t permit a lot of guests or interaction, but I still feel like a guest or two would have been permitted. Part of the excitement of the Super Bowl halftime show is to see who the main acts will invite on stage. He could’ve had Ariana Grande or even Drake join him, but instead, he decided to walk this journey on his own. While it was sort of a shock considering previous years, it wasn’t necessarily a bad thing, though. The Weeknd owned the past year in pop music, and he took the time to celebrate his record-breaking year and unique catalog. I can’t be mad at him for that.
Did it live up to your expectations?
Eric: Yes and no. I expected the audio quality to be better and I was hoping there would be some kind of a surprise element that would get everyone talking. Besides that, though, I think he delivered a strong performance that did what it needed to do: further establish himself as a superstar and introduce even more people to his world. He translated the bandaged and red-suited Vegas theme of his current After Hours era to living rooms across the world and took us through highlights from several chapters of his career. It was also refreshing to see someone so culturally relevant right now (and a little edgy) on that stage, instead of a “safe” throwback legacy artist. I was hoping to see Abel push the envelope further than he did, but I guess the act of bringing songs about cocaine and debauchery to the Super Bowl stage was bold in and of itself.
Waiss: It kind of checked all the boxes for me in what I thought we were going to get this year. Did he run through all his big hits? Yes (I would have loved a nod to Kiss Land but that’s neither here nor there). Was there an extravagant fireworks display? Yes. Did any fans join in on the festivities? No, and with good reason. I expected an extension of his After Hours visuals on a more elaborate scalem and that’s pretty much what we got.
Jessica: In many ways, the Weeknd’s performance lived up to what I expected. He gave us a brief tour through the years, there was a slight tribute to Uncut Gems (the shimmering gold mirror room), and interesting set designs. He also did a good job of embracing such an unprecedented time in the country. I think he could have pushed the envelope a little more, but we got many of the crucial elements I expected.
How will it be remembered in 10 years?
Eric: This performance will be remembered more for what it represented than what actually happened onstage. Like anything that happens in this era, it will go down in history as the “COVID Super Bowl performance,” and people will remember how unusual it was to see someone perform with artificial applause in front of a bunch of cardboard cutouts. More than that, though, it’ll be remembered as another step forward for the Weeknd as a globally-recognized popstar and a household name. He was denied that moment at the Grammys, and he made the most of it at the Super Bowl.
Waiss: I think everything in the scope of the once-in-a-century pandemic will be remembered long after we’re back to some variation of normal. For his fans, the Weeknd’s pictorial affair was a spectacle all his own without much distraction—like a ringleader commanding the tempo and narrative he wished to tell. It was a shining conclusion to a story he has invested so much time, effort, and creative bandwidth into, delivering one of the most succinct and cinematic album eras in recent memory. Amid every obstacle one could face, Abel delivered.
Jessica: Honestly, I don’t think people will be talking about the Weeknd’s performance 10 years down the road. Sure, people will remember this year and the ways in which we all had to adjust to life thanks to the pandemic, but the Weeknd’s performance won’t be one of those highlights. This was by no means the worst halftime show in the last decade (The Black Eyed Peas’ 2011 performance wins that award, in my opinion). There were many things that it did well, all things considered, but it just wasn’t anything that took your breath away. I think this was a niche performance for the Weeknd fans. As someone who has followed Abel since the beginning, it was very cool, but for casual viewers it was probably more on the forgettable side.