While house still dominates Miami Music Week, Deadbeats has always provided a safe haven for bass fans. Anyone who skipped Deadbeats’ 10th anniversary takeover seriously missed out on one of the best events of the week.
Inside the Mana Wynwood Convention Center, the bass scene didn’t just show up; it completely took over. From the moment you walked under the Deadbeats inflatable arch, it was clear this wasn’t just another Miami Music Week event. Vendors lined the space, merch was for sale, and a low-end rumble of the subwoofers pulsed before the night had even fully begun.
Aych and Overeazy set the tone early with experimental selections that felt like a warm-up for what was coming. Neumonic and Casey Club followed, pulling the crowd deep into the sounds of UKG and dubstep’s UK roots. Both of these sets eased the crowd into the night.
Then came the turning point. Kill Safari brought the energy. High knees and headbanging, with every drop hitting harder than the last. They dropped updated versions of brostep classics, riddim, and even a little bit of Moombahton. When “Propaganda” rang out, trap icon Ricky Remedy appeared on stage. The place erupted in a way that only happens during those blink-and-you-miss-it moments.
Boogie T was originally supposed to perform with Distinct Motive, but he injured his foot in a boating accident the day before. Rohaan replaced him on the lineup and helped bring the deep, minimal, 140 bpm dubstep. By the time LYNY and Peekaboo stepped up, the room was almost at capacity. Their trap-leaning set flipped the energy on its head, giving the crowd just enough groove before diving right back into the chaos.
Levity was added as a last-minute surprise guest to the Zeds Dead and Tape B set. The set unfolded like a highlight reel of everything that’s made Deadbeats a cornerstone of bass music over the last decade. Levity and Tape B also played out their unreleased collab for the first time.
The production matched the moment. The sound system didn’t just hit; the subwoofers made every drop feel physical. Lighting stayed restrained early on, then exploded into full laser-driven intensity during the B3B, transforming the space into something cinematic.
Closing duties fell to Sippy and Mary Droppinz, who somehow met for the first time just 30 minutes before going on stage. You wouldn’t have known it. Their “gremlin hours” set was unpredictable, chaotic, and the perfect sendoff to the night.
Deadbeats didn’t just celebrate 10 years—they reminded everyone why they’ve lasted this long. From OGs to rising names, every corner of bass music was represented. We’re looking forward to what the next 10 years hold for them.
