Review: The Weeknd’s After Hours ‘Til Dawn

One of the most striking features of The Weeknd’s tour was the elaborate stage design, which perfectly translates to film. It resembles a futuristic cityscape, with towering buildings, neon lights, and a massive screen displaying psychedelic visuals. Tesfaye himself emerges from a circular platform that elevates him above the stage, adding to the grandiose spectacle of After Hours‘ opening number, “Alone Again”. Throughout the show, the superstar makes several references to themes of loneliness, isolation, and disconnection; a commentary on contemporary society.

One remarkable feature of the performance that I was hoping to relive in director Micah Bickham’s film was the incorporation of pyrotechnics and special effects that enriched the overall experience. While it undoubtedly appears impressive when captured on camera, it delivers a much superior impact in person. Obviously, right? But there is a way these could’ve been brought to life to deliver a similar feeling at home. During “I Feel It Coming,” The Weeknd is surrounded by bursts of flames that perfectly complement the intense energy I felt around AT&T Stadium, but mostly disrupt the viewing experience of the film. Live, the concert also featured a stunning light show in its back half, namely the new “Less Than Zero,” which is reduced to nothing more than lens flares here.

Our first few songs are full of in-audience shots that add a bonus, homely energy to the film, but these slowly dissipate as we progress. It also eliminates most of what, live, became a subplot of the show: red, dancing ghouls and a menacing, hanging moon. However, the full ending- which sees Tesfaye leaving with said ghouls is still intact, which robs the viewer of a full understanding of the show’s theatrical element.

While our opening scene features an expanded CGI rendition of the opening number boasted impressive camera angles, the remaining footage left me wondering if that was the only number that was actually worked on in the editing room. The rest leaves a shot-for-shot, stale concert film that fails to capitalize on the vivid tour setting and musical transitions, leaving no room for The Weeknd’s mind to truly shine.

The set-list, though, featured a mix of new and old hits, which led the audience to mass hysteria upon hearing new classics such as “Blinding Lights,” “Die For You,” and “Call Out My Name” with a live vocal that did not disappoint. I’d argue the film’s sound was (ironically enough) overly edited in its post-production, such as the live crowd being all but muted, when I can protest to being, much, much louder. However, Tesfaye’s ability to switch seamlessly between his signature falsetto and deeper tones adds a level of complexity to a performance leaving fans in tears across North America.

After Hours ‘Til Dawn felt more cinematic rows upon rows of seats away than it did in my living room. The film feels rushed and I genuinely don’t think it had much thought put into it, which is the polar opposite of the show it’s documenting. Tesfaye’s incredible vocal, combined with stunning visuals and special effects, mark a triumph of artistry and spectacle that will continue across Europe this June.

Final Review: ★★★.5/5