The Weeknd dazzles in record-breaking Bay Area show
This Thuesday, The Weeknd made history at Levi’s Stadium, becoming the highest-grossing male solo artist in the venue’s records. The night was a spectacle from start to finish, blending cinematic production with raw, human connection.
The stage echoed his 2022 tour design, featuring a Toronto skyline backdrop with the iconic CN Tower, tying the show to his hometown roots. A grand staircase descended from the main stage to a catwalk runway nearly the length of a football field. There was a second small stage on the opposite side of the main stage. Shorter side catwalks formed loops to walk through, creating a cross-shaped layout when viewed from above. At the end of the walkway stood a towering female robot Hajime Sorayama statue, amplifying the show’s bold, theatrical and futuristic vibe. Behind the main stage was a huge screen that changed between background visuals and live footage of the artist performing.
The evening kicked off with Mike Dean, the legendary producer behind hits for Kanye West, Beyoncé, and The Weeknd himself. Surrounded by synthesizers, Dean delivered instrumental tracks from his 2025 album “425,” effortlessly switching between keys, electric guitar, and playing the saxophone, while casually smoking a cigarette, exuding cool confidence.
Next, Playboi Carti electrified the crowd, storming the stage with a hyped-up crew. Introduced as ‘the number one artist on planet Earth’ over a screaming guitar riff, Carti, dressed in all black, opened with the intense “Evil Jordan” and followed with the viral “FE!N,” his Travis Scott collaboration. Strobe lights flashed, though daylight softened their impact. His 20-minute set closed with the chilled-out “Fine Shit.”
At around 8:40 PM, anticipation peaked for Abel Tesfaye, aka The Weeknd. He emerged in a shimmering gold-and-black cloak and a metallic mask, setting a haunting tone with “The Abyss” from his album “Hurry Up Tomorrow.” Masked dancers in flowing red cloaks moved with subtle, stylized choreography, enhancing the cinematic atmosphere. After performing “Heartless” and a snippet of “Faith” from “After Hours,” Tesfaye dramatically removed his mask, revealing a wide grin that contrasted the earlier mystique.
‘You all are loud,’ he told the roaring crowd. ‘Vegas was loud, L.A. was loud, Minneapolis, Denver — but let’s see what the Bay’s got!’ The response was deafening, and he launched into the pulsing “Take My Breath” from “Dawn FM.” While his music often leans dark and moody, Tesfaye’s stage presence was warm and joyful. During “How Do I Make You Love Me?,” he skipped down the runway, smiling broadly, blending his shadowy aesthetic with infectious charisma.
On the B-stage, he delivered a stunning “Can’t Feel My Face,” his vocals surpassing the studio version with flawless runs and soaring high notes. His connection with the audience was palpable. During “Out of Time,” he ventured to the barricade, handing the mic to fans to sing along. ‘You sound beautiful,’ he said, though their enthusiasm outshone their pitch.
The production was a highlight, with wristbands lighting up the stadium in vibrant, pulsing waves, complementing the hypnotic lighting design. The futuristic Hajime Sorayama statue rotated on the stage, adding an otherworldly touch. The transition from the moody “Baptized in Fear” to the electrifying “Open Hearts” was seamless, with red and blue lights streaking across the venue. Masked dancers returned for “Cry For Me” and “São Paulo,” amplifying the drama of “Hurry Up Tomorrow”’s tracks.
Playboi Carti rejoined for their high-energy collabs “Timeless” and “RATHER LIE,” reigniting the crowd. Tesfaye returned to the main stage, performing two more songs before Lana Del Rey’s vocals on “Stargirl Interlude” provided a dreamy interlude.
The Weeknd’s genre palette defies easy categorization as R&B, often leaning into the theatrical flair of pop and rock traditions. Yet, for roughly the third quarter of his concert, he fully embraced R&B, delivering a masterclass in vocal finesse that evoked comparisons to Michael Jackson and the smooth crooners of past eras. Earlier in the set, songs with darker, more cynical lyrics showcased his angelic voice as a striking counterpoint to their emotional turmoil. But in tracks like “Out of Time” and “Call Out My Name,” he unleashed a raw, romantic vulnerability — thwarted or not — that few can match for its silken earnestness. His ability to command Levi’s Stadium’s massive crowd while simultaneously connecting with the intimate ‘bedroom’ of fans at the south end was mesmerizing.
Tesfaye shouted out the Bay Area repeatedly, weaving local love into his riffs: ‘Bay Area, I would die for you,’ he sang during “Die For You.” He hyped up the crowd, calling out San Francisco, San Jose, Oakland, and Berkeley, and later declared, ‘You guys made this the greatest night of the tour.’ Whether scripted or not, his affection felt authentic.
In the final act, the show shifted gears into a synth-pop explosion, with songs like “Save Your Tears,” “Less Than Zero,” and the inevitable “Blinding Lights.” Levi’s Stadium transformed into a vibrant, OMD-like dance floor, swapping the soulful R&B romanticism for the exuberant pulse of New Romanticism.
The night closed with his classics “High for This” and “House of Balloons” from his compilation album “Trilogy,” and the explosive “Moth to a Flame,” punctuated by fireworks and pyrotechnics. Over two hours in, Tesfaye’s vocals remained flawless, hitting stratospheric notes with ease.
It was an unforgettable night, a testament to The Weeknd’s artistry and connection with his fans. If this was his final bow as The Weeknd, Abel Tesfaye left an indelible mark. Thank you, Abel.
Photos (c) Arik Ruiz
