{"id":15878,"date":"2014-12-07T19:00:00","date_gmt":"2014-12-07T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/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\/fr\/chroniques\/artistes\/the-weeknd-after-dark-rb-that-filled-arenas\/","title":{"rendered":"The Weeknd – R&B nocturne qui remplit les ar\u00e8nes"},"content":{"rendered":"

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Toronto 2011 \u00e0 l’\u00e9chelle du Super Bowl : mixtapes, n\u00e9on After Hours et voix faite pour les heures tardives<\/h3>\n

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Fin 2010 et d\u00e9but 2011, des fichiers audio anonymes ont commenc\u00e9 \u00e0 appara\u00eetre sur une page Blogspot sans nom attach\u00e9. House of Balloons, une mixtape en tout sauf dans le format, est arriv\u00e9e en mars 2011 et traversait le R&B, des samples d\u00e9coup\u00e9s et une production \u00e0 combustion lente construite autour d’une voix inhabituellement haute et froide au sommet du mix. Abel Tesfaye, n\u00e9 \u00e0 Toronto en 1990 de parents immigr\u00e9s \u00e9thiopiens, faisait de la musique dans une quasi-totale obscurit\u00e9 avant l’upload. Drake l’a remarqu\u00e9, a tweet\u00e9 le lien, et le public est arriv\u00e9.<\/p>\n

Tesfaye a sorti deux autres mixtapes cette ann\u00e9e-l\u00e0, Thursday et Echoes of Silence, collectivement r\u00e9\u00e9dit\u00e9s comme la Trilogy en 2012. Les points de r\u00e9f\u00e9rence \u00e9taient l\u00e0 dans la production : le falsetto de Michael Jackson et la palette de Dirty Diana, la franchise sexuelle sombre de Prince, la livraison expir\u00e9e d’Aaliyah sur une production minimaliste. Mais Tesfaye ne couvrait pas ses influences ; il travaillait une zone \u00e9motionnelle particuli\u00e8re qu’elles avaient ouverte. La terreur de la nuit tardive, le plaisir et sa cons\u00e9quence matinale, l’intimit\u00e9 qui se refroidit. La production \u00e9tait assur\u00e9e par Illangelo et Doc McKinney.<\/p>\n

Kissland (2013) \u00e9tait le vrai premier album apr\u00e8s la signature chez Republic Records. Beauty Behind the Madness (2015) a chang\u00e9 les termes commerciaux : Max Martin et Stephan Moccio ont contribu\u00e9 \u00e0 \u00ab\u00a0Can’t Feel My Face,\u00a0\u00bb un titre pop jacksonien qui a atteint le num\u00e9ro un aux \u00c9tats-Unis. \u00ab\u00a0The Hills\u00a0\u00bb \u00e9quilibrait cette visibilit\u00e9 avec une production plus sombre qui conservait l’humeur originale. Le disque s’est vendu \u00e0 huit millions d’exemplaires et a confirm\u00e9 que les deux registres pouvaient coexister sur le m\u00eame album.<\/p>\n

Starboy (2016), avec Daft Punk produisant le titre \u00e9ponyme et \u00ab\u00a0I Feel It Coming,\u00a0\u00bb s’est d\u00e9plac\u00e9 vers une funk-pop accessible sans abandonner la texture nocturne. My Dear Melancholy (2018) est revenu \u00e0 un EP de six titres dans le registre \u00e9motionnel de la Trilogy. After Hours (2020) a construit un concept synth\u00e9tique-ann\u00e9es 1980 autour de \u00ab\u00a0Blinding Lights,\u00a0\u00bb un titre synth-pop qui a pass\u00e9 57 semaines dans le top dix am\u00e9ricain et a finalement battu le record de long\u00e9vit\u00e9 du Billboard Hot 100. Le spectacle de mi-temps du Super Bowl en f\u00e9vrier 2021, mis en sc\u00e8ne dans un couloir de miroirs en costume rouge, a touch\u00e9 un public de cent millions de personnes.<\/p>\n

Dawn FM (2022) \u00e9tait un album concept construit autour d’une station de radio fictive diffusant vers le purgatoire, avec Jim Carrey comme pr\u00e9sentateur et une palette de production plus r\u00e9solument synth-pop des ann\u00e9es 1980. Il a re\u00e7u une attention critique qui l’a plac\u00e9 parmi ses \u00e9nonc\u00e9s les plus coh\u00e9rents. Hurry Up Tomorrow (2025), annonc\u00e9 comme la conclusion d’une trilogie comprenant After Hours et Dawn FM, a \u00e9tendu ce concept dans un film du m\u00eame nom.<\/p>\n

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La voix est l’instrument autour duquel tout le reste est arrang\u00e9. Tesfaye est un contre-t\u00e9nor dans la partie haute de cette classification, capable du saut d’octave \u00e0 la Michael Jackson sans effort et de la phrase de falsetto lent qui requiert du contr\u00f4le plus que de la puissance. Il ne force pas ; il soutient, flotte, et tombe parfois dans le registre de poitrine pour l’emphase. Les \u00e9quipes de production lui ont constamment laiss\u00e9 de l’espace : les arrangements tendent \u00e0 rester hors du m\u00e9dium-aigu pour que le vocal s’assoie clairement contre la texture d’accompagnement.<\/p>\n

Les influences sont audibles et the Weeknd en a nomm\u00e9 la plupart. Michael Jackson pour le falsetto et le m\u00e9lodrame pop. Prince pour la franchise sexuelle et la volont\u00e9 de travailler simultan\u00e9ment dans le R&B, le rock et la dance. Aaliyah et la production de Timbaland du d\u00e9but des ann\u00e9es 2000 pour l’espace R&B minimaliste. Phil Collins et Peter Gabriel pour les textures de bo\u00eete \u00e0 rythmes qui traversent After Hours. Cette derni\u00e8re source surprend les auditeurs qui ont manqu\u00e9 le fil de la renaissance des ann\u00e9es 1980 dans sa production.<\/p>\n

Portes d’entr\u00e9e pour les nouveaux auditeurs : After Hours pour l’\u00e9nonc\u00e9 commercial abouti. House of Balloons pour l’humeur originale avant les ajustements pop. Beauty Behind the Madness pour le moment de crossover. Par rapport \u00e0 Drake, qui occupe une origine torontoise similaire et une voie R&B-rencontre-rap, the Weeknd reste plus proche de la tradition de la performance vocale. Par rapport \u00e0 Bruno Mars, qui travaille dans une zone r\u00e9tro-pop similaire, the Weeknd maintient une temp\u00e9rature \u00e9motionnelle plus froide qui convient plus \u00e0 minuit qu’\u00e0 la soir\u00e9e du samedi.<\/p>\n

Le catalogue de 2011 \u00e0 aujourd’hui n’est pas devenu pr\u00e9visible. Chaque \u00e9poque a eu une signature de production diff\u00e9rente tout en conservant le m\u00eame registre \u00e9motionnel : d\u00e9sir, isolement, exc\u00e8s et leurs cons\u00e9quences. Cette coh\u00e9rence de sentiment sur une surface sonore changeante est ce qui fait de the Weeknd plus qu’un ph\u00e9nom\u00e8ne de charts. Il travaille une pi\u00e8ce particuli\u00e8re, tr\u00e8s bien, et ce depuis le d\u00e9but.<\/p>\n

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Abel Tesfaye a post\\u00e9 des mixtapes anonymes depuis Toronto en 2011 sous le nom The Weeknd et a construit une marque R&B dans l’ombre qui a ensuite envahi la radio pop et les stades.<\/p>\n","protected":false},"author":1,"featured_media":6981,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[292,287],"tags":[539,622],"class_list":["post-15878","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artistes","category-chroniques","tag-soul-rb-fr","tag-the-weeknd-fr"],"yoast_head":"\nThe Weeknd - R&B nocturne qui remplit les ar\u00e8nes - 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\/fr\/chroniques\/artistes\/the-weeknd-after-dark-rb-that-filled-arenas\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Weeknd - 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