{"id":15879,"date":"2014-12-07T19:00:00","date_gmt":"2014-12-07T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/the-weeknd-after-dark-rb-that-filled-arenas\/"},"modified":"2026-09-27T01:17:34","modified_gmt":"2026-09-26T23:17:34","slug":"the-weeknd-after-dark-rb-that-filled-arenas","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/the-weeknd-after-dark-rb-that-filled-arenas\/","title":{"rendered":"The Weeknd &#8211; R&#038;B nocturno que llena arenas"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Toronto 2011 a escala Super Bowl: mixtapes, ne\u00f3n After Hours y una voz hecha para las horas tard\u00edas<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">A finales de 2010 y principios de 2011, archivos de audio an\u00f3nimos comenzaron a aparecer en una p\u00e1gina de Blogspot sin nombre adjunto. House of Balloons, una mixtape en todo menos en el formato, lleg\u00f3 en marzo de 2011 y transitaba por el R&#038;B, samples cortados y una producci\u00f3n de combusti\u00f3n lenta construida alrededor de una voz inusualmente alta y fr\u00eda en lo alto de la mezcla. Abel Tesfaye, nacido en Toronto en 1990 de padres inmigrantes et\u00edopes, hac\u00eda m\u00fasica en una oscuridad casi total antes de la publicaci\u00f3n. Drake lo not\u00f3, tuite\u00f3 el enlace, y lleg\u00f3 el p\u00fablico.<\/p>\n<p style=\"text-align: justify;\">Tesfaye lanz\u00f3 dos mixtapes m\u00e1s ese a\u00f1o, Thursday y Echoes of Silence, reeditadas colectivamente como la Trilogy en 2012. Los puntos de referencia estaban ah\u00ed en la producci\u00f3n: el falsete de Michael Jackson y la paleta de Dirty Diana, la franqueza sexual oscura de Prince, la entrega exhalada de Aaliyah sobre producci\u00f3n minimalista. Pero Tesfaye no estaba versionando sus influencias; trabajaba una zona emocional particular que ellas hab\u00edan abierto. El miedo de la madrugada, el placer y sus consecuencias matutinas, la intimidad que se enfr\u00eda. La producci\u00f3n la manejaban Illangelo y Doc McKinney.<\/p>\n<p style=\"text-align: justify;\">Kissland (2013) fue el debut formal tras fichar por Republic Records. Beauty Behind the Madness (2015) cambi\u00f3 los t\u00e9rminos comerciales: Max Martin y Stephan Moccio contribuyeron a \u00abCan&#8217;t Feel My Face,\u00bb un tema pop jacksoniano que lleg\u00f3 al n\u00famero uno en EEUU. \u00abThe Hills\u00bb equilibraba esa visibilidad con una producci\u00f3n m\u00e1s oscura que conservaba el humor original. El disco vendi\u00f3 ocho millones de copias y confirm\u00f3 que los dos registros pod\u00edan coexistir en el mismo \u00e1lbum.<\/p>\n<p style=\"text-align: justify;\">Starboy (2016), con Daft Punk produciendo el tema titular y \u00abI Feel It Coming,\u00bb se movi\u00f3 hacia un funk-pop accesible sin abandonar la textura nocturna. My Dear Melancholy (2018) volvi\u00f3 a un EP de seis canciones en el registro emocional de la Trilogy. After Hours (2020) construy\u00f3 un concepto sint\u00e9tico-a\u00f1os 80 alrededor de \u00abBlinding Lights,\u00bb un tema synth-pop que pas\u00f3 57 semanas en el top diez americano y eventualmente bati\u00f3 el r\u00e9cord de longevidad del Billboard Hot 100. El espect\u00e1culo de medio tiempo del Super Bowl en febrero de 2021, escenificado en un pasillo de espejos con traje rojo, lleg\u00f3 a cien millones de personas.<\/p>\n<p style=\"text-align: justify;\">Dawn FM (2022) fue un \u00e1lbum conceptual construido alrededor de una emisora de radio ficticia transmitiendo al purgatorio, con Jim Carrey como locutor y una paleta de producci\u00f3n que se inclinaba m\u00e1s hacia el synth-pop de los ochenta. Recibi\u00f3 la atenci\u00f3n cr\u00edtica que lo situ\u00f3 entre sus declaraciones m\u00e1s coherentes. Hurry Up Tomorrow (2025), anunciado como la conclusi\u00f3n de una trilog\u00eda que inclu\u00eda After Hours y Dawn FM, extendi\u00f3 ese concepto en una pel\u00edcula del mismo nombre.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb15866&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1758870012967{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">La voz es el instrumento alrededor del cual se arregla todo lo dem\u00e1s. Tesfaye es un contratenor en el rango superior de esa clasificaci\u00f3n, capaz del salto de octava \u00e0 la Michael Jackson sin esfuerzo y la frase de falsete lento que requiere control m\u00e1s que potencia. No fuerza; sostiene, flota, y ocasionalmente cae al registro de pecho para \u00e9nfasis. Los equipos de producci\u00f3n le han dado espacio consistentemente: los arreglos tienden a mantenerse fuera del rango medio-agudo para que el vocal se asiente claramente sobre la textura de acompa\u00f1amiento.<\/p>\n<p style=\"text-align: justify;\">Las influencias son audibles y the Weeknd ha nombrado la mayor\u00eda. Michael Jackson por el falsete y el melodrama pop. Prince por la franqueza sexual y la voluntad de trabajar simult\u00e1neamente en R&#038;B, rock y dance. Aaliyah y la producci\u00f3n de Timbaland de principios de los 2000 por el espacio de R&#038;B minimalista. Phil Collins y Peter Gabriel por las texturas de caja de ritmos que atraviesan After Hours.<\/p>\n<p style=\"text-align: justify;\">Puertas de entrada para nuevos oyentes: After Hours para el enunciado comercial acabado. House of Balloons para el humor original antes de los ajustes pop. Beauty Behind the Madness para el momento de crossover. Comparado con Drake, que ocupa un origen torontense similar y un carril de R&#038;B-meets-rap, the Weeknd se mantiene m\u00e1s cerca de la tradici\u00f3n de la interpretaci\u00f3n vocal. Comparado con Bruno Mars, que trabaja en una zona retro-pop similar, the Weeknd mantiene una temperatura emocional m\u00e1s fr\u00eda que conviene a medianoche m\u00e1s que al s\u00e1bado por la noche en el local.<\/p>\n<p style=\"text-align: justify;\">El cat\u00e1logo de 2011 hasta hoy no se ha vuelto predecible. Cada era ha tenido una firma de producci\u00f3n diferente manteniendo el mismo registro emocional: deseo, aislamiento, exceso y sus consecuencias. Esa coherencia de sentimiento sobre una superficie s\u00f3nica cambiante es lo que hace de the Weeknd algo m\u00e1s que un fen\u00f3meno de listas. Trabaja una habitaci\u00f3n particular, muy bien, y lo ha hecho desde el principio.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Abel Tesfaye public\\u00f3 mixtapes an\\u00f3nimas desde Toronto en 2011 como The Weeknd y construy\\u00f3 una marca de R&#038;B en la sombra que luego tom\\u00f3 la radio pop y los estadios.<\/p>\n","protected":false},"author":1,"featured_media":6981,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[304,299],"tags":[538,623],"class_list":["post-15879","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artistas","category-criticas","tag-soul-rb-es","tag-the-weeknd-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Weeknd - R&amp;B nocturno que llena arenas - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/the-weeknd-after-dark-rb-that-filled-arenas\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Weeknd - R&amp;B nocturno que llena arenas - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Abel Tesfaye publicu00f3 mixtapes anu00f3nimas desde Toronto en 2011 como The Weeknd y construyu00f3 una marca de R&amp;B en la sombra que luego tomu00f3 la radio pop y los estadios.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/the-weeknd-after-dark-rb-that-filled-arenas\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2014-12-07T18:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-26T23:17:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2025\/06\/thewd.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/the-weeknd-after-dark-rb-that-filled-arenas\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/the-weeknd-after-dark-rb-that-filled-arenas\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"The Weeknd &#8211; 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