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The 24-year-old has never sold a physical album or signed a record deal in his life he has only freely distributed his work via streaming services. The model of making music available cheaply in order to cash in on touring and endorsements has been taken to its logical conclusion by Chance the Rapper (No. "They're delivering an ongoing, engaged dialogue with their fan base." "The reason the Weeknds of the world and the Drakes of the world are exploding is a combination of a global audience that's consuming them freely at a young age they just keep dropping music," Live Nation chief Michael Rapino says. Watch On Forbes: The World's Highest-Paid Entertainers 2017 "It's not really coming in until you hit the stage." "We live in a world where artists don't really make the money off the music like we did in the Golden Age," says the Weeknd, 27. 6, $92 million) have clocked a combined 17.5 billion streams-and that creates other kinds of monetization, including touring revenue.
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4 on our list at $94 million) and The Weeknd (No. As digital downloads and physical sales plummet, streaming is increasing overall music consumption-since their Apple appearances, Drake (No. The Weeknd knows as well as anyone that streaming isn't the future of music-it's the present. The latter stunned the crowd with the first-ever live performance of his new single "I Can't Feel My Face," which premiered on Apple Music and has generated more than 1.5 billion spins across all streaming platforms. In his place was a pair of young musicians who walk the line between hip-hop, pop and R&B: Drake and the Weeknd. Steve Jobs would have been the logical choice to headline the launch of Apple's eponymous streaming service, but by the time the tech giant rolled out Apple Music two years ago, he was busy putting dents into faraway universes. per stop on his Starboy: Legend of the Fall World Tour. It’s like Scarface, the villain: It’s horrible, but you can’t stop looking at it.Ready for the Weeknd: Boosted by the ubiquity of his music, he's now grossing north of $1.1 million. You add more to him, and then it’s uncontrollable-its own character. Sometimes you take him and then you create more, and then it becomes this beast. That guy is who I am, but it is who I am to myself and in my writing.
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Speaking to Apple Music about the persona behind his songs, Tesfaye said, “I’m a chill person. And though his music has gotten a little brighter over time, the prevailing mood remains heavy, even unsettling-the ride you want more of even when you’ve had too much.
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Tesfaye’s music has become a symbol of hedonism pushed to bleak excess, with a series of albums-including 2015’s Grammy-winning Beauty Behind the Madness, 2016’s multiplatinum Starboy, and 2020’s dense and atmospheric After Hours-whose narrators can’t seem to say no even if they hate themselves for it later. Ethiopian by heritage (his parents immigrated to Canada in the late ’80s, just before he was born), Tesfaye-out from behind the mask of making art online-has since come to represent the changing face of Toronto, rooting himself not just in an international musical community but in a specific diasporic experience.
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One of the earliest musicians to find his footing on the internet, Tesfaye originally offered his music through YouTube and free downloads, a move that felt radical then but is common now. The brainchild of Toronto singer Abel Tesfaye, the project took off in 2011 with a string of mixtapes (later collected as 2012’s Trilogy) that forged cavernous, falsetto-driven R&B with narratives drenched in drugs, sex, and other regrettable decisions-a sound both sensuous and detached, featherlight and dead heavy. Even the singer’s sunniest tracks (“Can’t Feel My Face,” “Starboy”) feel anchored by darkness-the sense that pleasure is pain and beauty decays and you can’t have the night without the morning after. Nobody makes feeling bad sound as good as The Weeknd.