The Toronto superstar lit up downtown Detroit with a stunning stage production full of blinding lights.

The lights were blinding inside Ford Field on Saturday night — as were the lasers, bursts of pyrotechnics and flashes from phones in the audience — as Toronto superstar the Weeknd brought his After Hours Til Dawn Tour to the downtown stadium, a stunning stage spectacle that made full, thrilling use of the Detroit Lions’ home and made his last stop at the venue, in July 2022, seem like a warmup act.

The stage was outfitted with a long runway that stretched the full length of the stadium floor, with two wings that expanded out to the sides. (From overhead, the stage resembled a cross.) Sections of the venue’s club level were blocked off to house huge lighting rigs which flashed weapons grade strobe lights, and the full production transformed the stadium into a massive dance floor for the sold-out crowd of more than 40,000 fans.

Those fans were treated to more than two hours of hits that were accentuated by dark synth stabs and booming bass drops while the Weeknd, aka 35-year-old Abel Tesfaye, sang over top in his smooth, polished tones. Saturday was the first round of the singer’s two-night stand at Ford Field, and he clocks in again for work at the venue on Sunday night.

“Remember I told you last time we were gonna play two nights?” he asked the audience, and indeed, that was a promise he made at Ford Field three years ago. Such a feat was unthinkable when the Weeknd made his Detroit debut at Saint Andrew’s Hall back in 2012 or when he played an undersold show at the Fox Theatre a year later, but such has been the run for the artist who started with a trio of mixtapes in 2011 and was known early on for never showing his face.

Now his face is everywhere, including the movies, and there were no mentions on stage of “Hurry Up Tomorrow,” the companion piece to his current album which is currently playing to empty audiences at a theater near you and is destined to pick up several Razzies at the end of the year. (The movie is, at best, unsuccessful, and that’s being generous.)

But that’s OK because the stage is where he belongs, and this time his vision was even more fully realized than the last time around, with a crumbling cityscape surrounding the main stage, a mega-sized video wall as the stage’s backdrop, and a towering gold statue at the center of the production that looked like either a hood ornament or an Oscar statue’s female counterpart.

A squad of more than two dozen female dancers wore all red and covered their faces with gold masks, and the Weeknd wore a hooded robe and a mask with light-up eyes for the first few songs. It was like if “Eyes Wide Shut” was a stadium tour, with pop-R&B as the soundtrack instead of the dark, eerie chants from the Kubrick movie.

This review is developing…