|First posted 12/7/2020; updated 3/16/2021.|
Writer(s): Abel Tesfaye, Ahmad Balshe, Jason Quenneville, Max Martin, Oscar Holter (see lyrics here)
Released: November 29, 2019
Peak: 14 US, 17 RR, 2 AC, 120 A40, 14 RB, 18 UK, 17 CN, 18 AU (Click for codes to singles charts.)
Sales (in millions): 1.0 US, 1.8 UK, 6.67 world (includes US + UK)
Airplay/Streaming (in millions): -- radio, 1014.3 video, -- streaming
Awards: (Click on award for more details).
About the Song:
The grandaddy of charts is the Billboard Hot 100 which tracks the top songs in the U.S. every week across all genres. The chart pulls information from radio airplay, digital sales, and streaming data. On April 4, 2019, The Weeknd topped the Hot 100 with “Blinding Lights.” Two weeks later, it landed atop the airplay chart where it spent 26 weeks. Those six months at #1 were more than any other song in the history of the charts from 1890 to present has spent atop any of the major pop charts. See the DMDB page “USA: Biggest #1 Pop Songs” for more detail.
The song also set a record for more weeks in the top 5 than any other song in the history of the Hot 100 when it eclipsed the 28 weeks spent in the upper regions by the Chainsmokers’ “Closer” and Ed Sheeran’s “Shape of You.” SF The song topped the chart in 34 countries. It was the fifth #1 song in the United States for Canadian R&B singer Abel Tesfaye, better known as the Weeknd. He collaborated with Swedish songwriter and producer Max Martin, who’d worked with Katy Perry, Britney Spears, and Taylor Swift. The pair had worked together before, most notably on the Weeknd’s #1 hit “Can’t Feel My Face.”
The song is about the rekindling of a relationship in which the Weeknd sings about how he isn’t at peace unless he’s with his woman. He’s likely referring to model Bella Hadid, who he broke up with in 2016, but reunited with in 2019. SF
Consequence of Sound, which named it the best song of 2020, praised its “melodic romance waxed over a blockbuster riff.” WK The Evening Standard’s David Smyth called it a “glorious blast of air punching Eighties synth pop.” WK Rolling Stone’s Kory Grow called it “the best New Wave song this side of Duran Duran.” WK
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