The Weeknd Emerges From the Shadows at the Super Bowl Halftime Show

For nearly all of his decade-long profession, the Weeknd has been discovering ever extra ornate methods to duck the highlight, turning into immeasurably well-known and fashionable whereas sustaining a cool, skeptical and efficient take away from the harsh, typically goofy highlight of fame.

Out on the stage at the Super Bowl halftime present, although, there isn’t a lot one can do to cover. It is a locale that flattens nuance, sandpapers intent. It’s stay and closely vetted. For somebody whose songs typically dive deep into traumatic and provocative material, however gleam so brightly and convincingly that it’s simple to overlook the brittle soul inside, it’s an unlikely, nearly susceptible place to seek out your self.

Which in all probability explains why, at Super Bowl LV at Raymond James Stadium in Tampa, Fla., the Weeknd rejiggered the phrases of the efficiency. What would ordinarily be a hyperchoreographed spectacle with numerous transferring components was as a substitute one thing extra targeted and, at instances, unnervingly intimate. Even although his music tends towards the maximalist, the Weeknd discovered a number of methods to make the efficiency seem small, a type of secret whispered in entrance of an viewers that tops 100 million.

In a efficiency clearly designed for at-home consumption, he targeted intently on the cameras. Behind him was a band and choir interspersed amongst a neon cityscape, and infrequently he was surrounded by dancers — their faces bandaged, in step with the fame-skeptic iconography of his latest music movies — however typically, the Weeknd stood alone. His eye contact was intense. When he danced, he principally did so in isolation. In the midst of a pyrotechnic affair, there he was, protecting his personal time.

There could perhaps be no more fitting moment for the Weeknd to be headlining the halftime show: After almost a year of avoiding other people, who better to set the terms of public engagement than pop music’s greatest hermit? That said, it was jarring this week to watch him poke his head out from the shadows, engaging in a terse, not wholly comfortable news conference, and yuk-yuking in a comedy sketch with James Corden.

There are some responsibilities of this level of fame that aren’t negotiable. Asked at the news conference whether he would temper his songs or performance in any way, given how lurid and graphic his recent videos have been, the Weeknd insisted, “We’ll keep it PG for the families, definitely.”

Which is to say, there was no mischief injected onto one of pop music’s grandest, most-viewed and most scrutinized stages — take, for example, the raw carnal provocations of Prince’s 2007 rain-shellacked performance, or the fire-eyed political radicalism of Beyoncé’s takeover of Coldplay’s tepid set in 2016, or M.I.A.’s middle finger in 2012.

Mostly, as promised, he kept it PG, though he did toss in a sly grin and a tiny sashay of the hip during “I Feel It Coming,” and the scattered mayhem during “Can’t Feel My Face” suggested far more sinister things than could be represented. His recent music videos have focused on the grotesquerie of celebrity worship, but that narrative was nodded to but largely sidelined.

This is the second halftime show produced in part by Jay-Z’s Roc Nation, in an arrangement struck while the league was attempting to address fallout from its handling of Colin Kaepernick’s racial justice protests. In recent years, the N.F.L. has seemingly perpetually been in crisis-response mode. This season was consistently challenged by the impact of the coronavirus.

Before the game, the rock-soul singer H.E.R. performed “America the Beautiful,” injecting some Prince-minded guitar filigree. And the national anthem was a duet between the phenomenally gifted soul singer Jazmine Sullivan and the country stoic Eric Church, wearing a purple moto-esque jacket as if to overemphasize the political and cultural middle ground the performance — sturdy, sometimes impressive — was so clearly striving for.

In the Weeknd, the N.F.L. opted for one of the few unimpeachable pop stars of the last decade, a consistent hitmaker with an ear for contemporary production and an affection for the grandeur and sheen of the biggest 1980s pop.

Only during the last couple of minutes, when he finally emerged out onto the field, did he acknowledge just how far he’s come. Playing at that moment was a snippet of “House of Balloons,” the murky title song from his extremely murky debut mixtape, released a decade ago. At that point, the Weeknd was a total cipher, a Toronto miscreant with an ethereal voice and zero interest in sharing himself with the rest of the world.

This nod to his past was quick — a wink for longtime fans — and it gave way to “Blinding Lights,” his exuberant smash from 2019, which topped the Hot 100 for four weeks. It’s a sterling song that evokes both an idyllic future and triggers aural sense memories of mega-pop’s glory years. On the field, he was surrounded by hundreds of Weeknd-alike dancers. In the beginning, he moved with them in lock step. But as the song swelled, and the dancers began to swarm in odd patterns, the Weeknd moved in his own rhythm, holding the camera’s gaze, alone amid the chaos.

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