So much debate is in constant circulation around The Weeknd. His influence, his role in modern R&B, and his position as a pop star are all subjects of conversation in music. But the music, at the end of the day, is the only thing that can really speak for him.

 

For the first time since Spring of 2018, The Weeknd is back. And unsurprisingly, his A-Side / B-Side delivery, Heartless / Blinding Lights carries with it an extreme amount of debate and conversation. If one undeniable success comes out of the duo of singles, it’s that The Weeknd is utilizing the A-Side / B-Side cut towards its purpose as outlining differentiating yet cohesive ends of his musical spectrum. Heartless feels like a skeletal attempt to unearth the experimental lane that forever changed R&B music less than a decade ago, while Blinding Lights is yet another attempt to channel Michael Jackson and satisfy his middle-aged white woman fanbase. 

 

Neither are capable of reviving a career seemingly in constant spiral towards that of a diluted, predictable, and troubled pop star, but at least he can still sing. It would, however, be nice to see him take a risk and use his talent to push music forward like he used to.