Inspired by films such as Fear and Loathing in Las Vegas, Joker, and Casino, it depicts the Weeknd speeding through a city, after getting beaten by bouncers and being forced on the run.

[20] From its scale-laddering verses to its tension-filled chorus, the song exhibits the polish and "melodic math" for which Max Martin is renowned, according to Chris Molanphy from Slate.

Billboard staff writer Frank DiGiacomo assessed its qualities, "The opening drumbeat is a DeLorean [time machine] back to Michael Jackson's 'Beat It'.

The amphetamine synth conjures fond memories of leopard-print-era Rod Stewart's 'Young Turks' — or maybe that other guy with the avian hairdo, Mike Score from A Flock of Seagulls?

In just three minutes, the Weeknd checks off any number of Eighties pop-song signposts—unanswered phone calls, driving fast just to feel something, lights representing loneliness—but the real magic is how his voice and the song's chiming keyboard line lingers in your head well after he injects new life into the greatest Eighties-steeped lyrical cliché of them all: 'I can't sleep until I feel your touch,'" and editor Jon Dolan praised the "europhile synth-pop-steeped" production, "Blinding Lights" evokes Depeche Mode and the Human League in its lonely-planet luster.

"[26][35][36] Ben Beaumont-Thomas of The Guardian named "Blinding Lights" one of the best songs of 2020: "It's a titanic pop production from backroom genius Max Martin, who seems to pay homage to his fellow Scandinavians a-ha with the peppy gated drums.

"[25] When describing the Weeknd's ode to '80s music, Nick Levine of BBC News named "Blinding Lights" one of the best songs of 2020: "Co-written and co-produced with Swedish songwriting genius Max Martin, its synth-pop shimmer manages to feel retro and contemporary at the same time—a tricky thing to pull off.

[55] Speculation arose that the announcement of his upcoming Super Bowl performance, as well as the confusion as to whether he should be nominated as pop or R&B, contributed to the snubs in all the categories that he was submitted to.

The single reached a peak of number one on the Streaming Songs chart on March 30, becoming his first topper on the listing since "The Hills" led five years earlier.

[103][104] Meanwhile, "Blinding Lights" tied for the most time totaled in the Hot 100's top three, 21 weeks, equaling the sums of The Chainsmokers' "Closer" and Mark Ronson's "Uptown Funk!".

It is the sixth longest-running number-one of all-time in the country, tied with songs such as Spice Girls's "Wannabe", Drake's "God's Plan" and Bryan Adams' "(Everything I Do) I Do It for You", as well the fifth longest by a foreign act.

[137] The music video for "Blinding Lights" was directed by Anton Tammi, assisted by Kenneth Taylor, and filmed in Fremont Street, Las Vegas and Downtown Los Angeles, during a four-day shooting that took place until 6 AM every day.

Olliver Millar served as the director of photography, assisted by Devin "Daddy" Karringten on the second unit, Niels Lindelien on the steadicam operation, Nizzar Najm on the gaffer and Marlow Nunez on the key grip.

The Mercedes-AMG GT roadster was a specially equipped towed vehicle that allowed the Weeknd to act and lip-sync inside the moving convertible without needing to drive, and a chase SUV with a crane camera strapped to the top.

[141] Director of photography Oliver Millar said that he loves the music video format and talked about how intense it is to try and create iconic images during high-pressure shoots that don't last very long.

[146] The singer sports the same garb as the previous video, adopted for the album promotion, with a red suit, specific hairstyle, mustache and sunglasses.

[146] The visual opens with the Weeknd laughing as blood drips down his face, then jumps back in time to show the mayhem that led to his gruesome end — the pop star speeding around a deserted city, dancing gleefully in the streets.

It concludes with the Weeknd having flashbacks to a club he attended earlier in the night, where he was serenaded by a mysterious woman, played by Japanese actress Miki Hamano and beat up by a duo of bouncers, uncredited, who had forced him to go on the run.

[147] The video depicts the singer amid a story inspired by the films Fear and Loathing in Las Vegas, Joker, and Casino.

[148] Chase Ichiki from Revolt spoke highly of the music video, sharing that "the Weeknd crafts a world fans have eagerly waited for.

[149] Michael Cube from Nylon magazine wrote that "the video for "Blinding Lights" is appropriately cryptic for the famously elusive artist", and praised the presentation's alluring mystique.

[152] Bianca Gracie from Vulture named the music video one of the best of 2020: "It's a wild mix of Fear and Loathing in Las Vegas, Casino, and Joker that only Abel could pull off".

[159] The performance picked up right where the "Blinding Lights" visual left off, as the Weeknd remained in the red suit and his face was still bloodied with a bandage over his nose from the beatdown he vaguely remembered in the music video.

[161] "Blinding Lights" received a special performance during The Weeknd Experience, an augmented reality, interactive livestream held on TikTok on August 7, 2020.

He performed a rooftop version of his hit single from the observation deck at 30 Hudson Yards in Manhattan, New York City, complete with a background of fireworks.

The artist's pillowy voice glides effortlessly no matter the heights", Consequence of Sound editor Lake Schatz stated.

[177][178][179] In September 2020, London Grammar covered "Blinding Lights" at the BBC Radio 1's Live Lounge, backed by piano and guitar players.

Phoenix Recordings ended 2020 with a cover version of "Blinding Lights" remade by Dutch producer duo Leo van Goch and the Sixth Sense featuring the vocals of Georgia-based singer Sevda B, including a remix by Germany's Chris SX.

[181][182] In January 2021 a bilingual Welsh and Irish version of Blinding Lights was released by Urdd Gobaith Cymru and TG Lurgan, "Golau'n Dallu/Dallta ag na Soilse".

[183][184] In November 2021, Canadian-American supergroup Saint Asonia released a hard rock version of the song as a promotional single for their EP Introvert.