Billboard Brazil

In July, more than 420,000 people competed for tickets to The Weeknd‘s highly anticipated show in São Paulo, Brazil, scheduled for Saturday (Sept. 7) and just under a year after his last visit to the country. The overwhelming success of “Blinding Lights” gave the 34-year-old Canadian the title of most popular artist on the planet by Guinness World Records in March of last year (which he just lost to Billie Eilish). On Billboard’s Hot 100, the song reached the top, remained among the most listened to for 90 weeks and boosted the popularity of his albums After Hours (2020) and Dawn FM (2022). It holds the title of being the biggest song in all Hot 100 history.

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Only 16% of those 420,000 people got the chance to see Abel Tesfaye in person. Being successful in the competitive music industry did not exempt the composer, however, from struggling with his mental health. But, according to him, giving up was never in his plans. One of the keywords of his new phase is “rebirth.”

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The choice of the capital of São Paulo for the start of this tour was not a coincidence. The Weeknd visited the city last October, performing two sold-out nights at Allianz Parque with the show After Hours Til Dawn. It was in São Paulo that Tesfaye composed the central song of the new album, Hurry Up Tomorrow – affectionately nicknamed “Frankenstein” by the singer for exploring different sounds, but without losing its essence — something he does masterfully.

The Canadian details the importance of the Brazilian public for the next steps in his career, which has lasted 14 years and includes great achievements such as being the most listened to artist on Spotify (until Billie surpassed him in August), with 105 million monthly listeners, winning four Grammy Awards (despite not submitting his work for the awards since 2021, as a statement that shook the industry) and having almost $500 million in gross sales with the After Hours Til Dawn Tour, which filled stadiums around the world.

“I can speak for all artists when I say it’s hard to put into words the love and energy that the Brazilian people express when you’re on stage,” says The Weeknd in an exclusive interview with Billboard Brazil. “You feel the music so deeply. São Paulo and Rio reminded me that the frequencies we radiate as musicians are important. They remind me why I wanted to make music: to connect. I’ll spend the rest of my life knowing that.”

The broadness of The Weeknd’s discography is another factor that explains such success. He navigates the world very well to the pop, R&B, electropop and other genres, and he is spot-on in his dark lyricism when sings about the pains of love, fame and the challenges he faced (and still faces) to make a living from music. Shortly after announcing the concert in Brazil, the singer spoke on social media about “facing the abyss”. “It can mean many things. For me, it is something very specific,” he says in the interview, in a mysterious mood. “I faced it long enough. Most of the time, I overcame it. But I work on it every day. I hope that [my music] helps others face and overcome the abyss, too.”

One of the abysses Tesfaye faces is mental health. “What makes a grown man want to cry? / What makes him want to take his own life? / His happiness is never real,” he sings on 2018’s “I Was Never There.” In his faith—he was raised in an Ethiopian Orthodox Christian family—and in music, the Canadian has found comfort to overcome the most difficult moments. “I think about giving up every day. But I also find purpose every day,” says the singer, unafraid to open up and show his vulnerability. “My relationship with God is stronger than ever. I find comfort in His presence when I need it most. I talk to Him constantly. It’s been a long journey, but I’m here,” concludes the artist.

Tesfaye was born in Toronto, Canada, the son of Ethiopian immigrants. Inspired by Michael Jackson, he discovered his love for music at a young age. The artist has revealed that he was penalized for singing at inopportune times, such as during school classes or at the dinner table. Despite being discouraged, he released his first mixtape as The Weeknd, House of Balloons, in 2011, while splitting his time between art and work at a North American clothing retailer. The project entered the Billboard 200, anticipating the success of subsequent releases. “Wicked Games,” the first single, debuted at No. 53 on the Billboard Hot 100 in 2013. In the following years, he reached No. 1 on the chart with hits such as “Can’t Feel My Face,” “Save Your Tears” and “Die For You.”

When asked about taking care of his mind, the singer is even more honest. Brutally honest, as rarely seen in showbiz. “It’s funny you should mention this [mental health]. I just had a panic attack right before this interview. My anxiety is a constant battle, and I feel like it never goes away. I’m learning to control it, but I’ve already realized that it’s part of my life. I can’t escape it.”

Tesfaye spent part of his adolescence living on the streets, but he assures us: the main difficulty he faced in life was questioning his purpose and his connection with art. “The biggest challenge is not knowing if you were made for this, not knowing if it was meant to be. Most people still don’t know. I feel very lucky. I was able to take these depressive and nihilistic feelings and put them into my work. That ended up being my therapy,” he says, citing the philosophical school of thought that believes life has no value or purpose, often associated with the German philosopher Friedrich Nietzsche.

On YouTube, The Weeknd has accumulated almost 28 billion views on his channel. “Call Out My Name,” “The Hills” and “Starboy” are also part of his extensive list of hits. Expectations for his new era are high – both from fans and music critics. Dawn FM, released in January 2022, was acclaimed by the British newspaper The Guardian, from which it received the highest score: “Abel Tesfaye confirms his status as one of the greatest of all time with an album of icy splendor influenced by the 1980s”.

Another newspaper that praised the album was The New York Times. “His fifth album […] is elegant and vigorous and also, once again, a light reinterpretation of what big-scale music can sound like today, in an era in which most global stars have abandoned that concept.”

“There is always pressure to surpass my last project,” he says about the new era, presented for the first time at the show in São Paulo. “Growth is important. Sometimes it may not be what people want to hear from me at the moment, but, when the body of work is complete, I hope they can appreciate what I have been trying to achieve. I have been working on this discography for a long time. It was all planned,” he assures, escaping from the monotony. “I always try to achieve something that I haven’t done before musically. Sometimes it may not be clear on the first listen [to the album], but fans seem to figure it out over time,” he believes. Being at the top, for the Canadian, is subjective. “The only pressure for me is to be better than the older version of myself, focusing on growth, achieving my own goals, not other people’s.”

Tesfaye also spoke about the pains and pleasures of fame, a common theme in his work, whether in music or in the visual arts. When asked about how to keep his feet firmly on the ground, he repeated the sincerity demonstrated throughout the conversation with Billboard Brazil. “I stay away from people as much as possible. I try to have as much privacy in my life as possible. I never give off [that] ‘famous’ energy. I think trying to be famous is a talent in itself. I haven’t mastered that talent… And I don’t intend to,” he says, escaping the industry buzz.

Last year, the composer spoke about controlling the way he is seen and heard by the public. In the midst of the transition of concepts in his career, he revisits the idea. “Honestly, I don’t even remember saying that. But everyone would love to be able to control the narrative. It’s impossible. So you try your best and make the most of it. Less is more. I’ve learned a lot in the last two years, and it’s definitely the least control I’ve ever had. But I’ve learned a lot, and that’s the most important thing,” he says.

“Too much control is unhealthy. Collaboration is important, whether it’s artistically, with ideas, or even with energy. I’ve been on both sides of the fence, being too controlling and not having enough control. And leaning too far toward either side can be dangerous. It’s a constant balancing act, but the results are the best.”

Mending the dark parts of himself, The Weeknd’s Frankenstein must bring the singer’s lessons learned at the height of his fame—and pursue his chosen purpose in life, bringing comfort and refuge to those facing their own demons.

This article originally appeared in Billboard Brazil.