For a festival that doesn’t seem to take many risks, at least this was something a little off the wall. It might have actually made sense to flip their performances, the Weeknd’s moody pulse building into SHM’s triple-pronged ejaculation, though the DJs do reappear for a closing rendition of their collaborative single - and the jewel of SHM’s new album – Moth to a Flame. There’s a nod to his predecessor too, as the Weeknd performs part of West’s track Hurricane, as a bridge to older song The Hills. Still, he’s got the hits: I Can’t Feel My Face, Starboy, I Feel it Coming, it goes on, and the glowsticks remain in the air, while his latest Dawn FM material, much of which he debuts tonight, sounds superb. It’s a little like a Swedish House Mafia DJ set with a Weeknd PA.
#Daft punk songs i feel it coming series
He does look a touch lost compared with the Harry Styles and Billie Eilish of nights previous, though, having been parachuted in from filming a TV series at late notice to put on a show, without a band, dancers or any added extras, like, say, a striking outfit. Blinding Lights, however, the Weeknd’s very own Take On Me, is a promising moment, SHM now gone from the stage. This continues for Can’t Feel My Face, which comes off like it’s been “mafia-ed” into a slightly new distorted version, in keeping with their set. Then it’s into his electro-stomper How Do I Make You Love Me, for which the thwacking drums sound a little soupy. SHM appear to still be in a line behind him, prodding buttons. Photograph: Kevin Mazur/Getty Images for CoachellaĪfter what feels like forever, here he comes, the Weeknd, ad-libbing on new SHM-produced track Sacrifice, his diamond vocals cutting through the static. Steve Angello, Axwell and Sebastian Ingrosso of Swedish House Mafia. SHM’s new dawn are reinstating themselves as a dance music powerhouse, which is all very well, but it still sounds like … EDM? Or at least Axwell and Ingrosso are, as Angello bounces sort of awkwardly to their side, seemingly not doing very much. Clearly they are looking to the recently divorced Daft Punk, whose 2006 pyramid show at Coachella signalled a new dawn for electronic music in America. Then it’s into some industrial-edged rap from their new album, and back to sexy techno and crunchier takes on their peppy anthems like One (Your Name) and Don’t You Worry Child. Another chops up 90s vocal house and breakbeats. In SHM terms, their set is fairly diverse: one song has the punch of Justice and a whiff of the riff from Rage Against the Machine’s Killing in the Name. “Allow us to reintroduce ourselves,” Axwell yells, before an assault of whirring electro, warped trance, piano arpeggios and sandstorm visuals lands with the subtlety of a slap. Running 30 minutes late, the three Swedes finally appear on stage and assemble like bouncers behind a table about to check your coats, under a giant halo. For once at Coachella, the stakes feel fairly high. They’ve barely had time to put it together.
Together, they have promised a show in three parts: a bit of SHM boingy-boingy, a frisson of Weeknd nihilism, and a collaborative megamix bit. His own most recent album, Dawn FM, meanwhile, is his most experimental yet and leans heavily on the noirish electronic pumpers. The Weeknd is one of a smattering of its big guest rappers and vocalists like Ty Dolla $ign, ASAP Rocky, and some guy called Sting. Mafia men Steve Angello, Axwell and Sebastian Ingrosso are using this to launch Paradise Again, their debut album 15 years in the making, with an apparently darker, more apocalyptic sound – a move to distance themselves from the now taboo EDM tag, which has become synonymous with gimmicky acts like Marshmello. Besides sharing a manager, their pairing makes sense on paper.
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