Kiss Land in Retrospect

Nostalgia. A sentiment that is probably visited far more often than ever before, at least in the sense that what we consider to be nostalgic isn’t as far back in the past as what our parents or grandparents reminisce over. This could be easily attributed to the quickened pace at which we are ingesting information in the digital age and the use of social media. I could cite social media accounts that are dedicated to everything from the ‘80s, ‘90s, and ‘00s. We remember the sugary breakfast cereals we ate Saturday morning while watching cartoons, the start-up tone of the original PlayStation (word to nostalgia, ULTRA), and now we’ve all seem to come to an understanding about the emo bangers we were all listening to while going through middle and high school.

It may very well be that music is the most predominant and easily accessible thing that brings our nostalgia front and center (other than when you catch a whiff perfume that your high school girlfriend wore and mentally you’re back to being your awkward 10th grade self), and it’s that nostalgia that makes The Weeknd’s major record label debut album Kiss Land and the era around it such a special time for, not only myself but, thousands of XO fans that had been around since the beginning of Abel Tesfaye’s career or even those being introduced to him for the first time.

I’m not here to give an origin story, but for the sake of readers who aren’t hip, even though it’s now 2018 and The Weeknd is one of the biggest pop acts in the world, I’ll give a quick refresher: Born in 1990, Abel Tesfaye, stage name The Weeknd, is a Canadian-born recording artist of Ethiopian descent. He released his first official project, a 9-track mixtape called House of Balloons in 2011 and subsequently released two more mixtapes, Thursday and Echoes of Silence, later that same year (all independently under his XO label). With strong ties to fellow Toronto rapper Drake (one of the only two featured artists on any of the aforementioned mixtapes), rumors swirled that it was a no-brainer The Weeknd would sign to the former’s OVO imprint, especially after writing for and heavily influencing Drake’s sophomore album, Take Care (also released in 2011). However, The Weeknd partnered with Republic Records in 2012 after reportedly turning down a $7 million deal during the release of Thursday in August of 2011. Fast forward to present and an artist who notoriously hid what he looked like and had never done an interview during his first few releases has become a household name.

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Now, usually when your favorite artist goes and signs a major record deal there comes the worries, as a fan, that the material and output you’ve loved will suffer. The Weeknd tried his best to quell those fears during the rollout of his mixtape re-release compilation, Trilogy (2012). In an open letter to fans he explained the plot and meaning behind the newly-released music video for “Rolling Stone,” a practice he has openly detested (I’m hard to digest and I hate spoon feeding). However, the video symbolised the relationship between his career trajectory and his fans, from underground darling to what many would call “selling out.” The Weeknd added “You will continue to get what you fell in love with, and I will continue to give you what you ask for.”

This promise, even though it would not come to fruition until 2013, was taken to heart with lofty expectations by his fans while we waited with baited breath for any news, updates, or even new music. Hype only grew during the roll out and after the release of Trilogy in November of 2012 up to the release of Kiss Land the following year, as The Weeknd went on a hot streak of feature placements. Songs like French Montana’s “Gifted,” Juicy J’s “One of Those Nights,” and even a solo intro track placement on Lil Wayne’s highly awaited Dedication 5 mixtape, showed the industry’s desire for The Weeknd’s sound (these tracks were clearly his own after being given to the artists that ended up releasing them), yet he only worked with people close to him.

Reader be warned, from this point forward in this long-winded recollection of events I’ll do my best to touch on all the aspects of Kiss Land’s roll out, release, tour, and what it left behind; not only from my point of view, but also from other fans that experienced it first-hand. There will be bias and opinion (Pharrell’s remix of “Wanderlust” is better than the original) and a touch of gatekeeping, but the timeline and the events are based purely on facts. For Weeknd fans at the time, Kiss Land was, and is, a point in time that, however hard another artist may try, will remain untouched and unmatched, imitated but never recreated (Sorry, Kiss Land 2). It can absolutely be appreciated and lived through now in hindsight and YouTube videos but it is not at all the same as having been there.

On March 17, 2013 The Weeknd announced the title of his proper debut studio album (Kiss Land obviously, keep up) with a simple image of the album’s title shown as a fluorescent neon-green sign on a black backdrop. Even with this basic tease, fans lost it, we had been waiting for a return and it was imminent. Fans worried as the name seemed very matter-of-fact and being that we had reservations after the signing to Republic, we had our fingers crossed that the name wasn’t as bad as it first seemed.

After the title announcement, no news came until a 20-second, distorted promotional video, dubbed “John Carpenter,” was posted on the xoxxxooo YouTube channel on May 13, 2013. The name of the snippet was especially telling as it was known that The Weeknd was a big fan of film and John Carpenter is a legendary horror filmmaker. Fans and blogs went nuts as this was the first taste of any new solo Weeknd material. Five days later, on May 17, 2013, the album’s eponymous track “Kiss Land,” the official version of the snippet found in “John Carpenter,” was released. Fans let out a collective sigh of relief as the track showed signs of The Weeknd in peak form: content (sex, drugs, women), length (7+ minute songs were practically his standard), an epic transition between the song’s two parts, and ultimately his unique voice and delivery. Tesfaye was undoubtedly in his bag and we could not wait for more.

A month and some days later, on June 25, 2013 “Kiss Land” received two music videos: a truncated version that only used the second part of the track and a full-length explicit NSFW director’s cut. Both videos were equally important in that they introduced the album’s themes, imagery, and aesthetic in tandem. The less-NSFW version, although shorter, introduced more of the neon sign inspired typefaces but this time in Japanese, the green red panda mascot dubbed by many as “Oxcy,” and also more of the visual distortion that was present in the “John Carpenter” video. The director’s cut version carried the weight of telling a story of excess, depravity, horror, nightlife, and questionable morals. The music videos also starred adult film actresses London Keyes, Asphyxia Noir, and Bonnie Rotten, an important thing to notice once tour time came.

This came off as a kind of visual overload, after having had the track since the previous month there was a lot to take in. Why the use of Japanese? Why the cute cat/racoon thing? When did I sign up to watch a porno? Fans scoured both videos for hints or clues, as The Weeknd was notorious for hiding things in plain sight. This process continued in the following months as videos for “Belong to the World” and “Love in the Sky” released in July and August 2013, respectively, along with another promotional video snippet named after director Roman Polanski (this would become “Adaptation”). These videos really gave more depth and dimension to the world of Kiss Land and how it was supposed to feel foreign and unknown while also eerily familiar. Just as fans had worried about the album name, the same worries surfaced as the album cover for Kiss Land was debuted on July 21, 2013. It featured Tesfaye’s face predominately, something we had not seen from him up to that point, with a smug look on his face. Sure, we had heard two tracks at this point, but we did not know if these two songs were the outliers and the rest of the material would not be up to par.

Amidst all this new music, The Weeknd conducted his first interview ever with Complex Magazine in July, dubbed Kiss and Tell. This was huge for fans new and old alike, as it gave us some sort of insight to the inner workings of the upcoming album, tour, and Tesfaye himself. We learn why he had never done an interview before, if he intentionally tried to stay mysterious during his mixtape era, any bad blood with Drake after not signing with OVO, changes to his music, that “Gone” was a freestyle, and most importantly how Kiss Land is a world he created in his head that is a symbol for being out on tour and away from home for the first time (especially Japan, being that it’s the farthest he’s been) and the horror and freedom that come with it. In addition to this, MTV released a short Road to Release documentary that fleshes out more of these topics with Tesfaye (infamous shot of him watching porn in the studio).

The summer of 2013 was not without more promotional tactics from the XO camp. Billboards and murals in major cities, posters loaded with more artwork and imagery, and most importantly to his hardcore fans, a fall tour announcement and dates (more on that later). As was customary at this time with all album releases, Kiss Land leaked in full about two weeks prior to release and fans didn’t know what to do, should they give in and listen or do they pull their “real fan” card and wait it out until the album’s official release on September 10th? Fans argue, most don’t care but the ones that do REALLY do. Screenshots of DMs from fans lucky enough to have a follow from The Weeknd are posted stating that he doesn’t care if people listen to the leak or not but to just support when it drops. XO and Republic combated the leak by releasing the album in full to stream on NPR Music’s website on September 1st; listening to it is still being debated on Twitter timelines. Those who had not listened yet and were trying to wait until the album’s official release just ask for no lyrics to be posted or any spoilers, but of course people don’t listen. Still, some fans choose to hold out until September 10th.

As the first date of the Kiss Land Fall Tour approached (September 6, 2013), XO teamed up with Diddy’s (or was he Puffy at this point?) Revolt TV over the course of the week, releasing tour and album promotional content. Fans got a short video detailing the stage and set design for the tour (some of the only video evidence that Drop is in fact a real person), the bright fluorescent colors are present, as is the red panda. A more concrete sense of the world The Weeknd has been creating comes to life, the physical manifestation the album title. Revolt TV also released a Japanese style commercial prompting fans to call a phone number to speak to or get a call back from The Weeknd directly (“happy times”). Twitter at this point blew the fuck UP with fans freaking out either in anticipation or recapping conversations they had with him, or even getting him to follow them back on Twitter. These were joyous times. A short recap of these phone calls was released by Revolt TV in the following days. This was also the first time we saw the red panda mascot in different colors than the bright green we had come to love.

Finally, midnight September 10th comes. Many fans have heard the album through the leak, NPR Music, or even hearing some of the songs live on tour. The album opener “Professional” came out the gate swinging with deep, foreboding production. It sounded big, far bigger than anything heard up until this point and did not let up, even with the inclusion of singles that had been out for months. It was immediately well received by most fans although some were lost as to why it didn’t sound like Trilogy. Themes of loneliness, past love, debauchery, lifestyles in excess, sex, and so much more were present and inspired many an Instagram caption. With the album out in stores and the tour underway, The Weeknd starts a campaign to sign all copies of the album after his concerts, effectively becoming his first set of meet and greets, however the price of access was just to have the album in hand (even if you bought it at the merch stand right before the signing). Some fans were even lucky to get multiple copies signed or even more lucky and get Tesfaye to sign a copy of Trilogy.

I could go on and on about how this album sounded, but I’m not here to give a review other than this album cemented Tesfaye’s ability to bring a world to life and an idea full circle. What I will share is that in talking to fans about Kiss Land in retrospect, some shared stories about why the album became the soundtrack to for them. Many of us were in a time in our lives where angst, drama, heartbreak, hooking up, partying, etc. were commonplace. Kiss Land was not only a backdrop for these activities and feelings, but also an eye-opening experience for some that helped through tough times dealing with depression, suicidal thoughts, or even excessive drug use. The songs influenced moments of clarity that maybe they weren’t alone in feeling how they did in these atmospheres they’ve been in and maybe there was another way to go about things. For other fans Kiss Land was a self-contained sonic experience that they took for the musical masterpiece they felt it was. Either way, fans were ready to see these songs take life on tour.

The Kiss Land Fall Tour is a thing of legend within the fanbase now. What with a setlist including his earliest material, visuals that were directly inspired by different districts in Japan, life-size red panda mascots (that fans later learned may have been some Zangief types in costume) even intermissions in the form of commercials for candy and soda similar to the Revolt TV video to call The Weeknd. The tour also introduced the Kiss Land Fans Instagram account, an account run by party photographer, lastnightsparty. The account posted various shots of, well, fans, both in the shows’ crowds and provocatively backstage or at after parties (I’m still looking for the girl that was in the bathroom stall, someone find me her @) and would later go on to do the same for the King of the Fall tour as well as The Madness Tour. However, none of this holds a candle to what occurred during the beat switch on “Kiss Land.” In many cities notices were posted outside the venues warning of graphic and sexual content present during the show. Now, being that fans had seen the videos for “Kiss Land,” most figured that was what the warnings were for, and while we were right, we weren't even close. The song started and played without incident, but once the second part came in fans were treated to video content on the screens behind Tesfaye of adult film actresses Asa Akira and London Keyes fully nude and, for lack of a better phrase, going AT. IT. with one another. This elicited a range of responses from the crowd that ranged from exasperated groans to shock and awe to cheers for including such raw content that was right at home for a Weeknd show. This showed the lengths XO would go to give fans the most immersive experience they could during live shows, a departure from the smaller, intimate, and more subdued shows they did during the mixtape and Trilogy era.

I would be remiss to not mention the merchandise that was available to fans during this era and tour. Regret is not an emotion I feel very often, but I definitely regret not putting more value into Kiss Land merchandise when it was available. Tour tees and hoodies with green XO insignias with the red panda mascot peeking at the back hem, co-branded One condoms, posters, coasters, ashtrays, and keychains all plastered with the same mascot, even a limited edition New Era Cap collaboration with a faux-stingray leather bill, Kiss Land in Japanese kanji on the back, and of course the red-panda embroidered on it. They may have seemed like standard fare back then, but as they say, hindsight is 20/20, and many of these items have gone into obscurity and when they do reappear they're at a high resale value. This is partially due to OG fans missing out the first time, being too young to go to the show, or missing out on tickets, but it's largely due to fans that may have not been there during this era either loving the album enough to want a piece of it or jumping on the wagon of missing a bygone era and having a piece or two to stunt in.

The tour continued on into late October of 2013 in the US and included a late night performance at Jimmy Kimmel's outdoor stage. Many LA fans remember Tesfaye being out and about downtown and inciting crowds of fans following him while he took pictures and signed autographs. Eventually The Weeknd and co. took the tour to the UK and famously sold out the O2 Arena which would be his largest headlining show to date. As it goes though, we never know what we have until it's gone. The Kiss Land Fall Tour is the last time many of the songs from both Kiss Land and Trilogy are played live (many more fall to the wayside after his also legendary King of the Fall Tour) as Tesfaye seeks greatness and chart dominance after what he ultimately feels are disappointing sales and reception (how did Keith fucking Urban edge him out by 3000 copies first week?).

During all this commotion, XO had been teasing private events for those who a Kiss Land digital album and poster (it was glow-in-the-dark and had flowers of life all over) bundle during release week through a specific URL. Fans theorized over the next few months as to what these events would be, especially after the tour came and went and no other mentions were made. Finally, RSVP emails were sent out to the fans who had ordered the bundles detailing the dates and cities these fan only events would be taking place at. These cities included New York, Chicago, Dallas, San Francisco, and Los Angeles all within the span of five days starting on January 13, 2014. Still, little else was known other than images stating “Meet The Weeknd” which were already similar to the images promoting his post-concert album signings. Even with this shortage of information, this would be the first time fans planned to travel out of town en masse to see The Weeknd (even after it was made clear there would not be performances) and to meet friends and acquaintances made over social media in the past three years. What these events turned out to be were vastly more intimate meet & greets (especially compared to the throngs of people at the Kiss Land Fall Tour stops) and a limited edition poster signing at clubs located in the cities mentioned earlier. These private experiences gave fans a feeling of being appreciated by Tesfaye, as well as a larger sense of belonging in the fanbase, as they were able to bring their fandom into a space with others who were there for the same reasons.

We can now take the time to go forward into the future to present day, Kiss Land’s era has become a thing of lore, one of those “you had to be there” moments. The Weeknd has gone on to say that Kiss Land would be the only album of his he could see himself making a sequel for. This statement resulted in the XO fanbase chanting #KissLandMatters and trolling with false flags of Kiss Land 2. And while most of these efforts are jokes on newer fans or a call to arms to bring back that sound, it will be impossible to recreate that era, that feeling, and impossible to relive what now is left to nostalgia. It was a different time in many ways: album sales were still counted only in full album sales, the fanbase was significantly smaller and more tightly knit on social media (for better or worse), and frankly those who were present at this time and took it in as it came will never fully be able to pass that feeling onto fans who came in after (especially after KOTF Tour). Gatekeeping is a garbage pastime, but this isn't so much about gatekeeping Kiss Land era as it is about trying to encapsulate the feeling it gave us.

Nostalgia can be a tricky thing because it can make us remember things as being far better than they were and maybe that is the case here. However, with so many of us in agreement about the legacy Kiss Land and its era left, I think it’s more than safe to say it is a point in time we will all remember fondly both for its youthfulness in a time with less responsibility and our growth alongside the music on that album. Being able to connect with The Weeknd’s music and the various themes he presents gives his fans a sense of belonging and a feeling of pride that one of us made it on his terms. If by some way Tesfaye does see this, I hope he knows how many people Kiss Land reached and the effects the album left behind in all of us.

Ultimately Kiss Land and the months that both preceded it and followed are fondly remembered the way we remember a trip to somewhere new. You might be able to visit they place again, even find things you missed on trips past, but it'll never match up to that first time. And that is why this point in time can never be recreated.

Contributors (by Twitter handles):

@ohheybrenda

@Lielahcreasha

@brennniies

@tlheweeknd

@HighOffLyfe_

@andj_xo

@dxoraa

@puffytaughtme

@Xobrandi_