Top 25 Best The Weeknd Songs

Imagine being a teenager again, with larger-than-life dreams and aspirations you can’t put into words. Knowing the possibilities that lie ahead, could you pack up all your things and leave your old life behind? That’s exactly what Abel Tesfaye aka The Weeknd did. Alongside friends Hyghly Alleyne and Lamar Taylor, they relocated to a spot in Toronto’s Parkdale neighbourhood which would soon become known to fans as the House of Balloons.

It wasn’t until December of 2010 when a mysterious YouTube account, “xoxxxoooxo” quietly uploaded three songs: "What You Need," "Loft Music," and "The Morning;" all credited to someone named “The Weeknd”. The mysterious tracks were met with much fanfare online, celebrated for their textured soundscapes and remarkable vocals. Perhaps most notably, the tracks were shared by Drake via his blog and would be the start of a long professional relationship and friendship. By the end of 2011, The Weeknd’s body of work was already quite illustrious and expansive. We were gifted House of Balloons, Thursday, and Echoes of Silence; a trilogy soaked in the different shades of the dark, hazy R&B he popularized.

Scarborough’s Abel Tesfaye now stands as one of the biggest musical acts on the planet, with the ability to pack arenas around the world. He’s since pivoted his drug-induced approach to lyricism, mixing it with dance/funk instrumentation befitting his superstardom. His latest effort, Starboy is an indication of his influence. The project prominently showcases his new sound and only lends features to the most distinguished guests: Daft Punk, Lana Del Rey, Kendrick Lamar, and Future. Additionally, Abel is a co-founder of XO Records, a record label created with longtime-friend Cash, which is home to artists like Nav, Belly, and 88GLAM. Now seven years into the game, with a circle of friends as talented as himself, Abel is sitting atop the world. We compiled his best 25 songs that we believe are the foundations to his throne.

Opting out of his usual drug analogies, “Rockin’” is a dance-y metaphor for casual sex. The track sounds like it was taken directly from an 80’s synth-pop song despite Abel’s mention of booze and Adderall. Overall, it’s a fairly simple moment in The Weeknd’s now-massive catalogue, but its simplicity also lends itself to be a standout on Starboy.

Predating The Weeknd’s first official mixtape, “Material Girl” is the result of his work with Toronto production group, The Noise. The smooth, stripped down track comes as a surprise to fans who’ve become accustomed to the usual dark, lush, multilayered instrumentals Abel decides to hop on. Even as far back as this song goes, The Weeknd shows signs of wanting to gratify his girl. While he may have been unable to buy the items listed on the chorus as a struggling, Toronto artist, he can definitely buy them now.

With some notoriety to his name, The Weeknd – the host – introduces the world to his crew, XO. Known to some as a representation of ecstasy and oxycodone, Abel walks listeners through their drug use and sex lives. As an introduction, it’s the precursor to the next track, “Initiation”. The two go hand-in-hand as they induct women around the world.

With his impressive storytelling skills, The Weeknd illustrates a woman who will do anything to get her money up. Abel, and likely Future, are sharing this story because it echoes their own journeys. While Abel’s music usually depicts women who flock to him and the drugs, “Six Feet Under” celebrates an independent woman who is ready to secure the bag.

The Weeknd has gone on the record to say he feels like his self-portrayal in his music is schizophrenic, suggesting there are multiple personalities at play. “Coming Down” shows two identities at work: Abel when he’s intoxicated and Abel when he’s sober. The former is careless with his actions and easily slips towards infidelity. The latter becomes cognizant of his mistakes and feelings resurface. It’s an interesting duality that isn’t heavily-portrayed in his music; high Abel vs Abel after the comedown.

The second Daft Punk collab pays homage to music that’s older than The Weeknd himself. “I Feel It Coming” sounds like something right off a Daft Punk album. The lyrics deviate from Abel’s usual sentiments, and instead, urges for a traditional relationship. The song screams Michael Jackson and even the chorus can be confused with MJ’s falsetto.

“Laisse tomber les filles”, a phrase that has become vernacular for fans of The Weeknd. Roughly translating to “leave the girls alone”, it’s a precaution The Weeknd thinks he should take before they leave him. This idea spans from the story of “Montreal”: a woman who hasn’t fallen in love with him; yet. This comes as unknown territory to Abel whose celebrity status was booming after the release of his first mixtape. The song is a standout for its content matter, eerie sound, and heartfelt yearning.

A distinguishably warmer track from The Weeknd’s earlier days, “The Morning” has Abel singing about a stripper from the night before. After a long night comes the morning, and Abel is seemingly-entranced with this girl. “All that money, the money is the motive”, Abel famously chants. The song has parallels with “Six Feet Under” with the exception that, The Weeknd is absolutely smitten by this woman.

Initially met with mixed criticism, “False Alarm” has become one of The Weeknd’s most original pieces. Interpolating rock and punk influences, both sonically and through his delivery, Abel paints a picture of a woman who’s lost herself to her lavish lifestyle. The song serves as an antithesis to “Six Feet Under”, which stars a confident woman who will do what she needs to accumulate wealth. The protagonist of “False Alarm” however, has gold-digger tendencies, “She always leaves the man she loves / But the diamonds are forever / She always seems to be alone / But the diamonds make it better.”

The MJ influence didn’t end after “D.D”. One of The Weeknd’s first steps in discovering his new sound occurred on “Can’t Feel My Face.” With an upbeat approach, funky bassline, and simple chorus, it was destined to be on charts. The dance and funk inspirations were driving forces to the song, playfully disguising the song’s muse: cocaine. “I Can’t Feel My Face” has since claimed its spot in pop culture after infamously winning a Nickelodeon Kids’ Choice Award.

“The Hills” is a reflection of Abel’s Toronto shenanigans on a grander scale. Over harsh, atmospheric synths, he hints at an affair with an equally-famous star. As he reiterates throughout the chorus, “I only love it when you touch me, not feel me.” He’s not seeking emotional support, but rather temporary pleasure. “The Hills” depicts a smug authenticity that we’ve come to associate with at least one of The Weeknd’s personas, but who are you to judge?

Over a beat of moans belonging to the woman who visit the loft, Abel expresses what it’s like to be with him. Sex and drugs aside, he’s living pretty lavishly; or so he’d like you to believe. As one of the first tracks released as “The Weeknd”, it’s an early example of the juxtaposition in his music: a pretty voice sing-rapping about explicit topics. Eye-opening lines like, “the only girls that we fuck with seem to have 20 different pills in ‘em” became what fans could expect from dark RnB.

The first, highly-anticipated Daft Punk collaboration unveiled the Starboy; a new identity and stage in The Weeknd mythos. Along with severing his precious locks of hair, Abel adopted a new sound: dance-influenced drum patterns, heavy synths, and new cadences. As the lead single off his newest project, the content highlighted his accolades and insinuated that he was driven to becoming this. “Look what you’ve done.” The Starboy is proud unlike ever before and he wants you to know it.

The Weeknd’s storytelling comes into play once more when he details the narrative in “The Party & The After Party”. The Party is mellow, lined with soft synths, and has Abel saying whatever he needs to have fun with a girl. The After Party has Abel flushed with (drunk) truths, revealing just how he feels about women. “She ain’t lookin’ for that unconditional / What the fuck these bitches on? / They want what I’m sittin’ on / They don’t want my love / They want my potential.” As a young man with newfound fame, The Weeknd’s paranoia acts up, making him question the relationships around him.

It’s hard to deny that The Weeknd has secured his spot atop the world. If there was any doubt in your mind, The Weeknd’s “Reminder” is your, well, reminder. Abel outlines his lifestyle around the globe, but not without returning to his city as if he never left. And if the song isn’t enough, the video possibly has the most star-studded cast of all time.

Having drawn comparisons to the King of Pop early in his career, The Weeknd tests his vocal prowess with a moody rendition of “Dirty Diana.” While well-received and stirring up a thirst for more MJ covers, the RnB star has already shared his thoughts on the matter, “nobody should ever cover more than one MJ song. If ever...”

“Gone” is euphoria personified. The song feels like we’ve stepped into The Weeknd’s mind during a long night out; from the angelic beginning through to its pulsating conclusion. However, just when you think the song is done, a slow drum prompts the earnest sentiment: “Hope I make it home.” The underbelly of “Gone” is what happens when your friend has one too many. The remainder of the song is Abel stumbling around, slurring his words as he talks his shit. But if we know anything about The Weeknd, it’s that it won’t be the last of this.

Originally, “What You Need” began with an Aaliyah sample. “There, now hold me close,” she repeated before The Weeknd began to profess his love. While the sample couldn’t clear for the commercial release, the song still stands as one of Abel’s most romantic (albeit in a “Marvin’s Room” fashion). The track follows Abel as he attempts to woo a woman who’s with another man. Likening himself to the drugs he holds so dearly, The Weeknd insists that the other man is what she wants; she needs Abel.

“That north north, that up top, that OVO and that XO.” Due to recent events, Toronto’s prominence within the music world has skyrocketed, and so have two of its major forces: OVO and XO. With their acronyms known worldwide, Abel knows people want to be more involved than an XO in their internet handle. “Initiation” is the first step in getting women acquainted with his lifestyle. She can have his heart, but only if she’s with the sex, drugs, and the homies.

“Rolling Stone” sets the tone for The Weeknd’s nomadic lifestyle, especially after House Of Balloons. The song illustrates his self-destructive tendency to move on to other women before he becomes attached. “Baby I got you / Until you’re used to my face / And my mystery fades / I got you.” It’s a vulnerable moment for Abel, who thinks women like him more when they know nothing about him.

The Weeknd’s rise was seemingly meteoric. “Where were you when I needed you 8 months ago?” he asks, suggesting she didn’t like him before his March 2011 release, House Of Balloons. “Same Old Song” refers to an old flame who seeks out Abel now that he’s famous. However, The Weeknd’s resolve goes beyond sharing drugs or a night with her. Assisted by the legendary Juicy J, The Weeknd flaunts his new lifestyle, as success is the best of revenge.

Spiralling out of control after its predecessor, “The Birds Pt. 2” has Abel facing the repercussions of a temporary lover; and it sounds painful. The track is sprinkled with hints at this narrative: a crying woman; a gun being loaded at the beginning of the song; and a sample that echoes, “Sandpaper kisses, papercut bliss.” “The Birds Pt. 2” proves to be one of The Weeknd’s more apologetic songs, and something we’d love to hear more of.

For most, the opening lines of “Wicked Games” are unfortunate. “I left my girl back home/ I don’t love her no more.” However, for The Weeknd, this opens up many opportunities. The first single off Trilogy is best known for its haunting, reverberating strings and a young Abel’s trademark braggadocio. Celebrating drugs and promiscuity, “Wicked Games” served as a point of attack at radio; a medium that would welcome more of The Weeknd’s content matter for years to come.

The very first song on House Of Balloons – and subsequently, Trilogy – assures listeners that this isn’t your usual RnB. Like a polite host, Abel welcomes his guests, “You don’t know what’s in store, But you know what you’re here for” before handing them a glass. The Weeknd hints at the intoxicated ride you’re in for, and he’s at the wheel. One might even suggest this is the intro track to the entire genre of dark RnB, as we know it today.

This track serves as the anthem for XO who – at the time – were a bunch of 20-something-year-old kids celebrating their freedom and youth. Abel paints a dark picture of your average night at the titular House of Balloons; their residence in Toronto. Amidst the flurry of women and drugs, the song eclipses into a twisted reflection of the night’s preceding events, foregoing entertainment and stumbling into recklessness.