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Brilliantly written, produced and sung, it offers the captivating sound of an artist who knows he’s at the top of his game, at a blissful point at which every melody sticks, and every production idea works just so. And its references seem to place its author in a lineage of musical greats: aside from Here We Go… Again’s suggestion of Barry White, the concluding Phantom Regret By Jim nods to both Prince and Marc Bolan.īut the most noticeable thing about Dawn FM is how effortless and confident it feels, as if Tesfaye has been bolstered rather than cowed by its predecessor’s success. The inter-track narration is provided by Jim Carrey Quincy Jones rocks up six tracks in, discussing his mother’s mental illness and the effect it had on his relationships Here We Go… Again improbably unites Tyler, the Creator and 79-year-old Beach Boy Bruce Johnston the production team pitches together Max Martin, Swedish House Mafia and leftfield electronic auteur Oneohtrix Point Never.
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The album comes studded with star guests that say something about its author’s status.
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“You’ve been in the dark for way too long, it’s time to step into the light,” offers the opening title track, while its description of what awaits us in the hereafter (“now that all future plans have been postponed”) could just as easily be a description of the hedonistic nirvana of the dancefloor: “Soon you’ll be healed, forgiven and refreshed, free from all trauma, pain, guilt and shame – you may even forget your name.” It’s a concept album of sorts, with some lofty ideas about the afterlife that seem to be bound up with current affairs and informed by lockdown.
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And Dawn FM is very much the sort of thing you might release had you recently been officially crowned an all-time great. He was already vastly successful before After Hours came out but the triumph of Blinding Lights – its combination of melancholy and dancefloor propulsion the perfect complement to the misery and yearning for escapism engendered by the pandemic – elevated Tesfaye to even more rarified heights. But then, After Hours’ biggest hit, Blinding Lights, had just dethroned Chubby Checker’s deathless 1962 smash The Twist as the top Billboard 100 single of all time, a designation based on total weeks on the US chart and the positions held during that time.
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Complete with quotes from friends, producers, record company bosses and the tailor who made the suits he wore in the videos, it was the kind of celebration that normally appears in heritage rock magazines and is reserved for august classic albums. He hymns his appearance on the cover of Billboard magazine at the start of last year, suited and booted, smoking a cigar, surrounded by his “kinfolk”: “Catalogue looking legendary … now we’re cruising on a yacht, we clear.”īy the end of last year, Tesfaye – or rather his alter ego, the Weeknd – was on the cover of Billboard again, accompanying a feature that offered an oral history of the making of Dawn FM’s predecessor, After Hours. A s the first half of his fifth album draws to close with a track called Here We Go … Again – a beautiful, beatless ballad blessed with a chord progression that recalls the Love Unlimited Orchestra’s sublime 1973 hit Love’s Theme – Abel Tesfaye allows himself a moment of self-congratulation.