Abel Tesfaye came home this weekend, and Rogers Centre felt every bit of it on Monday night. The second of four sold-out shows proved why The Weeknd has become one of the few artists who can command four nights at the stadium in their hometown – delivering a 40-song set that spanned his entire 15-year journey from mysterious mixtape creator to global superstar. With 50,000 fans packed into the dome, Tesfaye reminded everyone why his voice remains his greatest weapon, regardless of what anyone thinks about the man behind it.
The stage setup was massive – spanning all four sides of the stadium with catwalks and two enormous rings that looked like something out of a dystopian movie. Seventeen custom-carved “semi-destroyed” buildings dotted the stage, including a crumbling version of Toronto’s CN Tower that hit different when you’re actually looking at the real thing through the dome’s windows. The whole production screamed end times, which fits perfectly with someone who’s been mining darkness for pop gold since 2011.
Tesfaye opened with “The Abyss,” emerging through smoke wearing all black with a sequined cape and a gold mask that had glowing eyes. When he hit those opening notes on “Wake Me Up” and “After Hours,” the sound was crystal clear even in the upper deck – that voice cuts through stadium noise like it was recorded in a studio. Say what you want about The Weeknd, but his vocals are bulletproof.
The night’s most electric moment came 15 minutes in when Tesfaye slowly pulled off his mask. The crowd erupted with chants of “Abel, Abel, Abel” and you could see he was genuinely moved by the reception. “Well, that’s a warm welcome home, isn’t that? Toronto you look so beautiful tonight man,” he said, his voice cracking slightly. Throughout the night, he kept calling the venue “SkyDome” instead of Rogers Centre and talked about going to Blue Jays games as a kid – pure Toronto nostalgia.
The setlist moved through career highlights like “Starboy,” “Heartless,” and “Faith” without feeling like a greatest hits package. Tesfaye has figured out how to make stadium versions of these songs that don’t lose their edge. “Can’t Feel My Face” turned into a massive singalong, while “Lost in the Fire” had flames shooting from every corner of the stage. The heat was real – Rogers Centre was already sweltering under Toronto’s heat warning, and the pyro made it feel like a sauna.
The production value was insane – over 1,100 lighting fixtures and a 180-foot LED screen that’s apparently one of the largest ever to tour. During newer tracks like “Baptized in Fear” and “Open Hearts,” the visuals got genuinely creepy with veiny eyeballs and Tesfaye sinking into what looked like a sea of corpses. It was disturbing in the best possible way, matching the apocalyptic vibe he’s been pushing.
Song placement mattered here. “The Hills” hit at exactly the right moment to get the crowd back up, while deeper cuts like “Kiss Land” and “Often” proved his album tracks can work in stadiums too. When he got to “Creepin'” and “Niagara Falls,” Tesfaye started tweaking lyrics to address Toronto directly. He must have said “Toronto” about 50 times during the show – guy knows his audience.
The emotional connection was real throughout the performance, with Tesfaye creating intimate moments even when performing for 50,000 people. The House of Balloons deep cuts later in the set had longtime fans losing their minds – these tracks still hit hard in a stadium setting, proving their staying power beyond the original bedroom recording aesthetic.
Vocally, Tesfaye never missed a step across nearly three hours. “Wicked Games,” “Call Out My Name,” and “The Morning” showcased the range that made him famous, but he was adding new runs and hitting higher notes than on the recordings. The guy’s voice has only gotten stronger with age, which isn’t something you can say about most artists who’ve been grinding for 15 years.
The final stretch built perfectly toward “Blinding Lights” – still weird to think that song is officially Billboard’s greatest Hot 100 hit of all time. Everyone got LED wristbands that lit up during the performance, turning Rogers Centre into a massive disco ball. “Save Your Tears” and “Less Than Zero” kept the energy high, but everyone knew what was coming.
The finale was pure spectacle – flames from every angle, fireworks painting the sky, and 50,000 people singing along to songs that started as bedroom recordings in Scarborough. “High for This” and “House of Balloons” brought things full circle, reminding everyone how far this journey has traveled. When the last firework faded, it felt less like the end of a concert and more like the end of an era.
Grammy-winning producer Kaytranada proved equally essential despite the challenging venue size for his club-oriented sound. The Montreal-based artist gave it his all, dancing at his decks and mugging for cameras, though performing dance songs while distracted fans milled around finding their seats wasn’t the ideal atmosphere for his music. Despite asking “Are there any of my fans in here?” to gauge crowd response, his infectious beats and Grammy-winning production skills helped establish the celebratory mood that carried throughout the night.
Both openers proved why The Weeknd chose them – they understand that atmosphere matters as much as songs, and Monday night was all about creating a complete experience from first note to final flame. The Weeknd returns to Rogers Centre on August 7 and 8 for two more shows.
All photos by Dan Savoie
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