âŤď¸ WAKE ME UP FT. JUSTICE (prod. The Weeknd, Justice, Mike Dean, Johnny Jewel)
âŤď¸ CRY FOR ME (prod. The Weeknd, Metro Boomin, Mike Dean)
âŤď¸ I CAN'T F***ING SING (prod. The Weeknd, OPN, Nathan Salon)
âŤď¸ SĂO PAULO FT. ANITTA (prod. The Weeknd, Mike Dean)
âŤď¸ UNTIL WE'RE SKIN & BONES (prod. The Weeknd, OPN, Mike Dean, co-prod. Nathan Salon)
âŤď¸ BAPTIZED IN FEAR (prod. The Weeknd, OPN, Mike Dean, Nathan Salon)
âŤď¸ OPEN HEARTS (prod. Max Martin, Oscar Holter)
âŤď¸ OPENING NIGHT (prod. The Weeknd, OPN, Mike Dean, co-prod. Nathan Salon)
âŤď¸ REFLECTIONS LAUGHING FT. FLORENCE + THE MACHINE & TRAVIS SCOTT (prod. The Weeknd, Mike Dean, additional prod. Metro Boomin, OPN, Nathan Salon)
âŤď¸ ENJOY THE SHOW FT. FUTURE (prod. The Weeknd, Mike Dean, additional prod. Che Pope, Just Da 1 @BadBoyJustin, Tommy Rush)
âŤď¸ GIVEN UP ON ME FT. FUTURE (prod. The Weeknd, Metro Boomin, Mike Dean, OPN, co-prod. Nathan Salon)
âŤď¸ I CAN'T WAIT TO GET THERE (prod. The Weeknd, Mike Dean, Tommy Brown, Tommy Parker, Peter Lee Johnson)
âŤď¸ TIMELESS FT. PLAYBOI CARTI (prod. Pharrell Williams, co-prod. Mike Dean, Ojivolta, Twisco)
âŤď¸ NIAGARA FALLS (prod. The Weeknd, Mike Dean)
âŤď¸ TAKE ME BACK TO LA (prod. The Weeknd, Mike Dean, Daheala, co-prod. Tommy Rush, Sage Skolfield. Sean Solymar)
âŤď¸ BIG SLEEP FT. GIORGIO MORODER (prod. The Weeknd, Giorgio Moroder, Mike Dean, OPN, Prince 85, Cirkut, co-prod. Nathan Salon)
âŤď¸ GIVE ME MERCY (prod. The Weeknd, Max Martin, Oscar Holter, additional prod. ILYA)
âŤď¸ DRIVE (prod. The Weeknd, OPN, Matt Cohn, co-prod. Max Martin, Oscar Holter, additional prod. Nathan Salon)
âŤď¸ THE ABYSS FT. LANA DEL REY (prod. The Weeknd, Mike Dean, co-prod. Patrick Greenaway, additional prod. OPN)
âŤď¸ RED TERROR (prod. The Weeknd, Cirkut, OPN, Mike Dean, additional prod. Nathan Salon)
âŤď¸ WITHOUT A WARNING (prod. Teddy Fantum, Thabo, The Weeknd, co-prod. Oscar Holter, Mike Dean, OPN)
âŤď¸ HURRY UP TOMORROW (prod. Daheala, OPN, Mike Dean, additional prod. Nathan Salon)
âŤď¸ RUNAWAY (prod. The Weeknd, Max Martin, ILYA)
âŤď¸ SOCIETY (prod. The Weeknd, Max Martin, Oscar Holter, additional prod. OPN)
âŤď¸ CLOSING NIGHT (prod. The Weeknd, Swedish House Mafia, Mike Dean, Wheezy)
âI had a good chunk of the album done, but then SoFi happened, and other things happened after, and you go right back to the drawing board,â the Weeknd says. âBecause this was a really important, pinnacle moment in my life. How could it not be? And as an artist, youâre telling a story, so you get under the hood and try to figure out whatâs going on. In the process, I got closer, and I became more grateful â I know it sounds clichĂŠ and soft or whatever, but itâs the truth. Iâve been working on myself to not push people away.â
Musically, the âHurry Up Tomorrowâ album includes plenty of the sleek, chrome-plated hooks that have characterized many of the Weekndâs biggest hits. But to a degree he hasnât really done before, it also includes explorations of other genres: classic R&B, straight pop, acoustic guitars, fast beats and an epic, sweeping song, probably the finale, that recalls Princeâs âPurple Rain.â It also features several major special guests, most of whom the Weeknd declined to make public just yet. However, one is pioneering producer-composer Giorgio Moroder, who is best known for his work with Donna Summer on iconic disco-era hits like âI Feel Loveâ and âLove to Love You Baby,â but was actually more influential to the Weeknd for his film scores, particularly âMidnight Expressâ and âScarface.â âGiorgio is a huge inspiration for this album,â the Weeknd says of Moroder, who contributed keyboards, arrangements and vocals to âHurry Up Tomorrow.â âHis DNA has always been in all of my music, but Iâm really honing in on it here, especially the operatic synths in âScarface.â This album feels almost like an opera to me,â he concludes, âthis gothic, operatic finale to the trilogy.â Moroder tells Variety, âIâm thrilled to continue bridging the gap with Abel between the past and the future, creating something timeless yet innovative.â
During the interview, after a couple of references to âclosing this chapter,â heâs asked which chapter, exactly, he is referring to â the âAfter Hoursâ trilogy or his existence as the Weeknd?
After a 30-second pause, he says, âI would say my existence as the Weeknd.â
He continues, slowly, âItâs a headspace Iâve gotta get into that I just donât have any more desire for. I feel like it comes with so much âŚâ He trails off before continuing: âYou have a persona, but then you have the competition of it all. It becomes this rat race: more accolades, more success, more shows, more albums, more awards and more No. 1s. It never ends until you end it.â
Lionsgate has stepped up to land worldwide theatrical distribution rights to Hurry Up Tomorrow, the new title of a film that marks the feature-starring debut of The Weeknd (Abel Tesfaye). The Grammy-winning and Oscar- and Emmy-nominated artist stars alongside Jenna Ortega and Barry Keoghan. Trey Edward Shults directed what now is being called a psychological thriller. The film is an extension of the anticipated album of the same title (release date forthcoming) which stands alongside the filmâs score by The Weeknd and Daniel Lopatin.
Adam Fogelson, chair of Lionsgate Motion Picture Group, confirmed the deal to Deadline. âAbel is a visionary whose art cannot be confined by any single medium,â he said. âWith Hurry Up Tomorrow, in partnership with Trey, his musical universe expands onto the big screen with a psychological thriller that will usher in a new cinematic experience for fans. We are thrilled to be bringing it to audiences worldwide.â
Pic is being produced by his Manic Phase and Reza Fahim along with the late Kevin Turen and Harrison Kreiss. The exec producers are Ortega, Shults, Michael Rapino, Ryan Kroft, Wassim âSalâ Slaiby and Harrison Huffman.The crafts team is rounded out by director of photography Chayse Irvin, production designer Elliott Hostetter, and costume designers Erin Benach and Hannah Jacobs. The soundtrack is done by The Weeknd and Daniel Lopatin.
The choice of the capital of SĂŁo 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 âAfter Hours Til Dawnâ. It was in the capital of SĂŁo Paulo that Abel composed the central music of the new album, âHurry Up Tomorrowâ â affectionately nicknamed âFrankensteinâ by the singer for exploring different sounds, but without losing its essence. Something he does masterfully. âI can speak for all artists when I say that it is difficult to put into words the love and energy that the Brazilian people express when you are on stage,â says The Weeknd. âYou feel music deeply. SĂŁo Paulo and Rio reminded me that the frequencies we emit as musicians are important. They remind me why I wanted to make music: to connect. I will spend the rest of my life aware of that.â
LETS
F***ING
GOOOOOOO
LETS GOOOO
What a mad man
Of course we did abel we are not dumb dumbs
IN