When Kanye West dramatically pulled out of his headline Sunday slot simply two weeks in the past, with no motive, few individuals may have predicted his substitute. A landmark rock act, maybe? An surprising pop maven? Nope, it’s a mash-up between America’s brooding prince the Weeknd and Swedish Home Mafia, the trio who helped usher within the decade’s turbo-hetero wave of maximalist EDM. They final performed the pageant in 2012, breaking apart not lengthy after. The Weeknd is on the stage the place he instructions the Tremendous Bowl halftime present and, reportedly, West’s $8.5m look charge. He hardly wants these three.
So what occurs once they fuse collectively?
Moreover sharing a supervisor, their pairing is smart on paper. Mafia males Steve Angello, Axwell and Sebastian Ingrosso are utilizing this to launch Paradise Once more, their debut album 15 years within the making, with an apparently darker, extra apocalyptic sound – a transfer to distance themselves from the now taboo EDM tag, which has change into synonymous with gimmicky acts like Marshmello. The Weeknd is certainly one of a smattering of its huge visitor rappers and vocalists like Ty Dolla $ign, ASAP Rocky, and a few man known as Sting. His personal most up-to-date album, Daybreak FM, in the meantime, is his most experimental but and leans closely on the noirish digital pumpers. Collectively, they’ve promised a present in three components: a little bit of SHM boingy-boingy, a frisson of Weeknd nihilism, and a collaborative megamix bit. They’ve barely had time to place it collectively. For as soon as at Coachella, the stakes really feel pretty excessive.
Operating half-hour late, the three Swedes lastly seem on stage and assemble like bouncers behind a desk about to test your coats, below a large halo. “Enable us to reintroduce ourselves,” Axwell yells, earlier than an assault of whirring electro, warped trance, piano arpeggios and sandstorm visuals lands with the subtlety of a slap. In SHM phrases, their set is pretty numerous: one track has the punch of Justice and a whiff of the riff from Rage In opposition to The Machine’s Killing in The Title. One other chops up 90s vocal home and breakbeats. Then it’s into some industrial-edged rap from their new album, and again to horny techno and crunchier takes on their peppy anthems like One (Your Title) and Don’t You Fear Baby. Clearly they wish to the lately divorced Daft Punk, whose iconic 2006 pyramid present at Coachella signalled a brand new daybreak for digital music in America. Or at the least Axwell and Ingrosso are, as Angello bounces type of awkwardly to their facet, seemingly not doing very a lot. SHM’s new daybreak is reinstating themselves as a dance music powerhouse, which is all very nicely, but it surely nonetheless feels like … EDM?
After what appears like eternally, right here he comes, the Weeknd, ad-libbing on new SHM-produced monitor Sacrifice, his diamond vocals reducing by way of the static. SHM seem to nonetheless be in a line behind him, prodding buttons. Then it’s into his electro-stomper How Do I Make You Love Me, for which the thwacking drums sound slightly soupy. This continues for Can’t Really feel My Face, which comes off prefer it’s been ‘mafia-ed’ right into a barely new distorted model, in-keeping with their set. Blinding Lights, nonetheless, the Weeknd’s very personal Take On Me, is a promising second, SHM now gone from the stage. He does look a contact misplaced in comparison with the Harry Kinds and Billie Eilish of nights earlier, although, having been parachuted in from filming a TV collection at late discover to placed on a present, with no band, dancers or any added extras, like, say, a putting outfit. It’s slightly like a Swedish Home Mafia DJ set with a Weeknd PA.
Nonetheless, he’s received the hits: I Can’t Really feel My Face, Starboy, I Really feel it Coming, it goes on, and the glowsticks stay within the air, whereas his newest Daybreak FM materials, a lot of which he debuts tonight, sounds very good. There’s a nod to his predecessor too, because the Weeknd performs a part of West’s monitor Hurricane, as a bridge to older track The Hills. It may need truly made sense to flip their performances, the Weeknd’s moody pulse constructing into SHM’s triple-pronged ejaculation, although the DJs do reappear for a closing rendition of their collaborative single – and the jewel of SHM’s new album – Moth To a Flame. For a pageant that doesn’t appear to take many dangers, at the least this was one thing slightly off the wall. Nevertheless it may not be one value repeating.