The Weeknd on his new album, his connection to Brazil and mental health

In July, more than 420,000 people vied for tickets to The Weeknd's highly anticipated show in São Paulo, Brazil, scheduled for Saturday (September 7), nearly a year after his last visit to the country. The overwhelming success of “Blinding Lights” earned the 34-year-old Canadian the title of the world's most popular artist. Guinness World Records in March last year (which he narrowly lost to Billie Eilish). The song reached the top of Billboard's Hot 100, remained among the most listened to for 90 weeks and boosted the popularity of his albums After work (2020) and Radio and television stations (2022). It is considered the most successful song in the entire Hot 100 history.

Only 16% of these 420,000 people had the chance to see Abel Tesfaye in person. However, his success in the competitive music industry did not protect the composer from mental health problems. But giving up was never his intention, he says. One of the keywords of his new phase is “rebirth.”

The choice of the capital São Paulo as the starting point for this tour was no coincidence. The Weeknd visited the city last October and played two sold-out nights at Allianz Parque with the show After Hours Til Dawn. In São Paulo, Tesfaye composed the central song of the new album, Hurry up tomorrow – affectionately called “Frankenstein” by the singer because he explores different sounds without losing his essence – something he does masterfully.

The Canadian explains the importance of the Brazilian audience for the next steps of his 14-year career, which includes major achievements such as being the most listened to artist on Spotify (until Billie overtook him in August), with 105 million monthly listeners, winning four Grammy Awards (despite not submitting his work to the awards ceremony since 2021, a statement that shook the industry) and grossing nearly $500 million with the After Hours Til Dawn Tour, which filled stadiums around the world.

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

The breadth of The Weeknd's discography is another factor that explains this success. He navigates the world of pop, R&B, electropop and other genres very well and he hits the nail on the head with his dark lyricism when he sings about the pain of love, fame and the challenges he had to face (and still has to face) to make a living from music. Shortly after the announcement of the concert in Brazil, the singer spoke on social media about “facing the abyss”. “It can mean a lot of things. For me it's something very special,” he says in the interview in a mysterious mood. “I've dealt with it long enough. Most of the time I've overcome it. But I work on it every day. I hope that… [my music] also helps others to face the abyss and overcome it.”

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 grew up in an Ethiopian Orthodox Christian family – and in music, the Canadian has found solace to overcome the most difficult moments. “I think about giving up every day. But I also find meaning every day,” says the singer, who is not afraid to open up and show his vulnerability. “My relationship with God is stronger than ever. I find solace in his presence when I need him most. I talk to him all the time. It's been a long journey, but I'm here,” concludes the artist.

Tesfaye was born in Toronto, Canada to Ethiopian immigrants. Inspired by Michael Jackson, he discovered his love for music at a young age. The artist has revealed that he was punished for singing at inappropriate times, such as during school lessons or at the dinner table. Despite being discouraged, he released his first mixtape as The Weeknd. House of Balloonsin 2011 while splitting his time between art and working at a North American clothing retailer. The project entered the Billboard 200 and foreshadowed the success of subsequent releases. “Wicked Games,” the first single, debuted at number 53 on the Billboard Hot 100 in 2013. In the following years, he reached number 1 on the charts with hits such as “Can't Feel My Face,” “Save Your Tears,” and “Die For You.”

When asked how he takes care of his mind, the singer is even more honest. Brutally honest, as one rarely sees in showbiz. “It's funny that you mention that [mental health]. I had a panic attack just 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 youth on the streets, but he assures us that the greatest difficulty in life was questioning his meaning and his connection to art. “The greatest challenge is not knowing if you are made for this, not knowing if it should be this way. Most people still don't know. I feel very lucky. I was able to channel those depressive and nihilistic feelings into my work. That ended up being my therapy,” he says, referring to the philosophical school of thought that believes life has no value or meaning and is often associated with the German philosopher Friedrich Nietzsche.

On YouTube, The Weeknd's channel has garnered nearly 28 billion views. “Call Out My Name,” “The Hills,” and “Starboy” are also part of his extensive hit list. Expectations for his new era are high – both among fans and music critics. Radio and television stationspublished in January 2022, was published by the British newspaper The Guardian, of 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 powerful and also once again a slight reinterpretation of what large-scale music can sound like today, in an era when most world stars have abandoned this concept.”

“There is always pressure to outdo my last project,” he says of the new era, first unveiled at the São Paulo show. “Growth is important. Sometimes it may not be what people want to hear from me at the moment, but when the full body of work is finished, I hope they can appreciate what I tried to achieve. I have been working on this discography for a long time. It was all planned,” he assures, escaping the monotony. “I always try to achieve something that I have never done musically before. Sometimes it may not be clear at first listen [to the album]but the fans seem to be figuring it out over time,” he believes. Being at the top is subjective for the Canadian. “The only pressure for me is to be better than the older version of myself, to focus on growth and to achieve my own goals, not other people's.”

Tesfaye also spoke about the pains and joys of fame, a recurring theme in his work, whether in music or visual art. When asked how he keeps both feet firmly on the ground, he reiterated the sincerity he showed throughout the conversation with Billboard Brazil. “I stay away from people as much as possible. I try to have as much privacy as possible in my life. I never give [that] “famous” energy. I think becoming famous is a talent in itself. I haven't mastered that talent… and I don't plan to,” he says, escaping the industry hype.

Last year, the composer spoke about controlling how he is seen and heard by the audience. With his career in conceptual flux, he has returned to this idea. “Honestly, I don't even remember saying that. But everyone would like to be able to control the narrative. That's impossible. So you try your best and make the best 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 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 to either side can be dangerous. It's a constant balancing act, but the results are the best.”

To heal his dark sides, The Weeknd's Frankenstein must apply the lessons the singer learned at the height of his fame – and pursue his chosen purpose in life: to provide comfort and refuge to those facing their own demons.

This article originally appeared in Billboard Brazil.