Melodic bass producer MitiS returns with a deeply personal statement on his new EP Through The Dark, released March 13, 2026. The six-track project arrives during an emotional chapter for the artist, written in the aftermath of losing his father last year. Known for cinematic piano arrangements and soaring melodic bass soundscapes, MitiS leans fully into vulnerability throughout this deeply reflective body of work.
Across the EP, shimmering synths, emotional vocals, and sweeping production guide listeners through the complicated terrain of grief and remembrance. Each composition unfolds like a diary entry, balancing heavy emotional weight with uplifting melodies that gently push toward healing and hope. For longtime listeners, the project also marks a renewed focus on the piano, the instrument that first shaped MitiS’ artistic identity. He shares,
“‘Through The Dark’ is the most personal body of work I’ve made in a long time. Losing my dad last year completely changed me — not just as a person, but as an artist. I found myself back at the piano processing everything in real time, and some of the most honest music I’ve ever written came out of that space. This EP is about grief, healing, and finding light in moments you never think you’ll survive. It’s painful, but it’s also hopeful.“
The producer spent much of the writing process returning to those keys, translating grief into melodies that feel intimate, raw, and unmistakably human. That emotional honesty flows throughout the project, turning each track into a moment of reflection wrapped in melodic bass catharsis. Dedicated to his late father, Through The Dark stands as both a tribute and a creative turning point in MitiS’ evolving career. The EP expands his signature sound while leaning further into storytelling and emotional depth than many of his previous releases.
This project feels more intimate, allowing quiet piano passages and reflective moments to carry just as much weight as explosive climaxes. At its core, Through The Dark reminds listeners why MitiS’ music resonates so strongly across the melodic bass community. Rather than simply soundtracking life’s most difficult moments, his music offers a space where those emotions can be processed and transformed. Through heartbreak, reflection, and ultimately hope, the EP stands as a reminder that even the darkest chapters can lead toward healing.
Subtronics continues to build his legacy as one of dubstep’s most influential producers with his first North American tour in over two years. The Fibonacci Tour spans three months with 16 dates in 12 major cities across the USA and Canada, bringing the heat during the cold winter months. It is the first time Subtronics has toured after the completion of his Fibonacci double EP arc, including Fibonacci Pt 1: Oblivion and Fibonacci Pt 2: Infinity.
He started the tour on January 23 in Toronto, and Moon Lvnding’s New York crew was on hand in Brooklyn to check out his shows on February 27 + 28, marking the beginning of the second half of the tour. As a Philly native, Subtronics is no stranger to New York City, having sold out numerous venues over the 10+ years he’s been touring. However, these two sell-out shows at the cavernous Brooklyn Storehouse might have been his most ambitious yet.
The enormous warehouse space in the Brooklyn Navy Yard boasts over 100K square feet, 42-foot ceilings, and capacity for 5,000 guests. Subtronics’ team spared no expense on production at the event and went all out with a laser setup I have never seen before. Not only did Subtronics have lasers flanking both sides of his stage, shooting towards the back of the warehouse, but there was also a full set of lasers rigged to the back of the warehouse, aimed at the front of the dancefloor. Impressively, the sold-out crowds were completely blanketed by lasers in both directions, with additional pyrotechnics punctuating Subtronics’ biggest bassdrops.
To Subtronics’ immense credit, he made both nights feel distinctly unique by curating diverse lineups and tweaking his two headline sets to match the vibes of his talented support. Over the years, my respect for Subtronics’ ability to incorporate a wide range of bass acts has grown tremendously, and the lineups for his two shows in Brooklyn demonstrated it perfectly.
Photo Credit: Shae McCormack // @shaelien111
On Friday night, his two big support acts were Avello, a burgeoning dubstep producer known for modern-day remixes that feel like a step back into the 2010s, and Juelz, a West Coast artist known for his energetic trap beats. Then on Saturday, he brought out pink-haired Brooklyn local Blossom for a playful DnB set, followed by the international icon TroyBoi, who incorporates sounds from his Indian background into a booty-shaking bass-forward set.
My favorite moment from the weekend shows was on Saturday when Subtronics made the time to play out O.P.U.S. in its entirety, including the meaningful spoken-word intro. It’s the opening track to his debut album Fractals, and it means a lot to someone very close to me. It is not such a popular track that it makes it into every set, so when he does play it at a show, I feel a special sense of satisfaction.
Another highlight of the weekend was Subtronics’ debut of his new ID “Eyes Cut Deeper,” which captivated the crowd, especially during his encore on Night 2. Lasers flying all around, lyrics shining on the gargantuan LED board, and 5000 fans living their best life dancing to a song we got to hear first is a memory I will not soon forget.
There’s still plenty of time to create new memories of your own as Subtronics winds down his Fibonacci Tour. If you’re lucky, there still might be limited tickets available for the last few stops, including two shows in Philadelphia for the first weekend of March, and then single nights in St. Louis, Kansas City, Austin, and Boston to close out this phase of the tour.
Fear not, if you can’t make it out to one of his tour stops, because Subtronics will feature in a handful of festivals this year, including Coachella in April and Moon Lvnding favorite Elements Music & Arts Festival in his home state of Pennsylvania in August. Subtronics also has seven shows scheduled for his Las Vegas residency at Encore Beach Club, and the debut of a two-day Griztronics event at The Gorge in Washington for Memorial Day Weekend. Finally, there are a few Cyclops-branded events: two days of Cyclops Rocks VI in Colorado, Cyclops Island in Hawaii, and the three-day dubstep extravaganza Cyclops Cove in Florida over the first weekend of December.
2026 is shaping up to be another huge year for Subtronics, so if you want to get in on the action, check out the ticketing section on his website for all the latest info. Of course, you can keep up with everything Subtronics related using the handy social media links below.
Go Beyond The Booth with French-Electro genre-fusing DJ BRVMES!
What inspired you to become a DJ/ how did you come up with your stage name, BRVMES?
BRVMES: I don’t think I set out to be a DJ necessarily, but more so a producer. The desire to play live definitely came later. I came up with the name BRVMES because it’s derived from the French word “brumes,” meaning “misty” or “foggy,” and it immediately sets the vibe for what the project is all about. Fun fact: I only chose it if and only if Petit Biscuit gave his blessing, which he did personally, so I proceeded with the name.
For someone just discovering you, how would you describe the sound of your music to them?
B: I would definitely say dark and visceral, but also a bit groovy at the same time.
What ongoing influences or experiences continue to shape your sound as you grow within the music industry?
B: Vintage cinema continues to shape a lot of what draws me in creatively. Films from the ’60s and ’70s have a unique atmosphere that feels largely lost today, and they always push me toward making something darker and moodier. Lately, Jean-Pierre Melville’s Le Samouraï (1967) has been stuck in my head. I also pull heavily from early-2000s runway shows, and in a way, every track I make still has to feel ‘runway-ready.’
Photo Credit: Infamous PR
How does French Electro compare to the US style of music?
B: I think the origin story of French Electro has a lot to do with it. The “French touch,” as it is called, has a certain feel to it, to the point that France added it to the national inventory for UNESCO’s World Heritage list last year. It’s really difficult to pinpoint, but in my opinion, France has just been king of the sound from the start, and it’s rich with its own flavor. The US style of music today is just in a different place, but over time, I have seen it becoming more and more mature and Euro-centric, with harder genres and more “French touch” influences. I have always just seen French Electro as the grandfather of electronic music.
For someone trying to make it in the music industry, what advice would you give them?
B: The number one thing is to ensure that you are having fun making music and to make it for yourself. If it turns into a race or a way to please others, then it’s for all the wrong reasons, and the motivation will fizzle out very quickly. I would also caution against chasing genres that are popping or trying to race to remix the latest big house track. These can work, but a lot of it is short-lived.
Ultimately, it depends on the artist’s goal, too. There are some who just want to go viral and others who want to stick around and create all originals, but each path has its own methods that work in today’s social-media-ridden climate. So my advice really will vary depending on what they are after in the music scene.
It can be from any genre, but who would you love to collab with and why?
B: I would say Lorn. He has insane production chops, but also is so unique that I think I would pick up a lot from working in the same studio as him.
What is your process when collaborating with different artists, and how do you approach blending your style with theirs?
B: My process is really centered around talking about what we both like. Eventually, something comes of that, and we both know what gets us hyped and energized, and then taking that momentum right into the studio session really helps something sound nice afterwards.
How will you know that you have “made it in the music industry”?
B: That’s something I think about often to try to keep myself grounded. If I asked my younger self, I’d probably say I’ve already made it, but the goalpost keeps moving. At this point, ‘making it’ looks like touring or playing festivals I once attended as a fan.
Photo Credit: Infamous PR
How has it been releasing music on the Hypnovizion label?
B: It has been really awesome, the Hypnovizion team is amazing and really white-gloves the release experience, and they do an amazing job including me on the label. I have released through a few different labels before, where it’s very transactional, but the Hypnovizion team really folded me into their culture, which has been a great feeling.
What was your inspiration for DOOM?
B: DOOM’s inspiration was a bubbling up of a large production phase for BRVMES while overseas. I was making a ton of music in all genres, and I finally just honed it all back in, leveled out all my experience, and finished DOOM (and many other similar tracks) at once. I then compiled a body of work that I can really say resembled the BRVMES sound by 2026.
What other labels would you want to release music on?
B: I am a big fan of Boyznoise Records and would love to team up with them. Additionally, OWSLA for nostalgic reasons, and lastly, I would say the Parisian label Zone, run by The Hacker.
When you got told you would be opening for REZZ in Houston, how did that experience influence your growth as an artist?
B: I think this cemented my goal to play more shows; it was on my list of to-dos as an artist for this year, and it kicked off my trajectory in this path as a performer rather than being holed up in the studio. I’ve spent the last 10 years really isolated with not much performing, so opening for REZZ was a re-centering of the whole purpose of electronic music, which is really playing out these tunes on the dancefloor – that’s what it’s all about.
Who was the first person you told that you would be opening for REZZ?
B: I told my fiancée! She knew I was coming out of my shell more as an artist and entering that next phase, and it’s only natural to share these things with those closest to you. Also, my cat is the best.
What has been the most memorable thing you have experienced since you have been in the music industry?
B: There are so many, but I really think it’s the first time hearing one of my tracks played out at a festival in person in the crowd. This experience is very wild and silences a lot of the doubts I originally had. Second, when I was starting to work in the sync licensing industry, my track Reve was used in “Billions” on Showtime.
What is your dream venue/ festival that you would love to perform at?
B: Definitely EDC. A cliche answer, but it was the first real festival I went to in 2013 – EDC Chicago, which was the first and only one in that city.
Before performing, what pre-show rituals do you do to get into the right mindset for each performance?
B: An involuntary ritual is my extreme loss of appetite, which I’ve had forever; I can never keep a meal down until after the show is over. Outside of that, quadruple-checking my 4 USBs in my pocket to calm any nerves.
How do you switch up your sets to keep them fresh for different crowds?
B: I am always plugged into my favorite tracks on Bandcamp and other streaming places, so I will always bring in my classic Braves tracks, then I export any new IDs, and last, I hit up some artist friends to see if there’s anything ultra fresh I can include. Ultimately, just having a good pulse on present stuff, but I always try to include some og throwbacks for any new ravers out there who haven’t heard those records live.
We’re thinking big picture now: if you get a documentary made about you/your music career, what are some key things that should be included & why?
B: Hands down, the importance of music education in the school system. It has been the biggest catalyst for me as an artist, and having good access to the arts and exposure to them (across all income levels). Having early access to these things really shaped who I am now and why I do what I do.
If you had an unlimited budget, what effects (visuals, lasers, pyro, etc.) would you want for your performance?
B: I’ve always wanted a very slim, minimalistic live setup for shows, and I’ve always been a big fan of 360 sets/venue set-ups. For lighting and lasers, it must be perpendicular, and, like the lights themselves, it’s vogueing.
At Moon Lvnding, we show gratitude every day. How do you show gratitude in your daily life?
B: For me, gratitude comes from paying attention. As an artist, I try to stay present, notice the work as it’s unfolding, and not rush past moments of progress or inspiration. I also make a point to recognize the people involved and the time and care they put into the process.
How do you stay authentic to yourself while being in the music industry?
B: I try not to really compromise too much and give in to trends as easily now. I am 34 and have been raving for a long time, so I really am over chasing trends, genres, or anything flashy. My only goal is to connect with people on the dance floor while making tracks that I am genuinely proud of. Once I shifted into this mindset, it has not failed me. I find that it’s a little slower as a path, but I would choose it 10/10 times.
Where can fans discover your music?
B: Right now on all standard platforms like Spotify and Soundcloud! Planning to move a lot of my catalogue over to Bandcamp as well.
Is there anything else that you would like to share?
B: Thank you for the interview! I enjoyed the questions and hope they give a glimpse into the BRVMES project. I field a lot of questions from fans on social media, and there is a lot of curiosity, so I hope people enjoy the insights <3.
Kaskade unleashes another installment of his EP undux with a fresh collection of collaborative remixes via Monstercat and his personal label, Arkade.
In undux (remixes), eight-time GRAMMY-nominated producer Kaskade utilizes international electronic talent to inject his album with a brand new soundscape. Transforming introspective, lowkey tracks into club-ready grooves, the latest chapter of Kaskade is enthralling and exciting.
The original undux album shows introspection and emotion, while the remixes rewrite the work’s purpose. Undux (remixes) returns Kaskade’s sound back to the club, bringing listeners together through dance. This project effectively echoes his unwavering duality as a pensive lyricist and master producer.
Image Courtesy: MP3 LABS
The five-track EP kicks off with Disciples’ reimagined rendition of “touch.” Introducing their UK spin to the track, Disciples thickens the originally light, airy acoustics for a bass-heavy house hit.
Initially, the easy-listener “deeper” embodied a Kaskade-meets-Fleetwood Mac sound with Mia Grace’s ethereal vocals. Belgian melodic house artist Jerro flips the song’s narrative by laying a danceable beat, completely altering the perspective of the lyrics.
Dave Summer’s “started over” is a perfect midpoint of the album. One of the strongest tracks on undux (remixes), it features an adrenaline-packed build with a hypnotic halt before the drop. The drop then catapults into an intense driving beat, creating a tech-house banger.
During undux‘s initial release phase, Kaskade stirred excitement among listeners with early drops of some tracks. “Started over” was released on November 13, alongside “I can’t make you love me.”
Among the remixes, Kaskade chose to include arguably the most moving track. Suray Sertin’s remix of “unspoken” takes a tearjerker and transforms it into a textured, atmospheric track. This track reinforces the purpose of undux (remixes), which explores new perspectives of Kaskade’s deep narrative.
Finally, “heart worth breaking” brings the remixes album to an edgy, genre-bending close. This electronic fusion remix by The Halluci Nation is a complete 360 of the original. What was once a fluid, high-energy club groove became a hot pot of sound, jumping from genre to genre. All in all, the “heart worth breaking” remix is an incredible close to the album and the most altered from its original.
Photo Courtesy: MP3 LABS
EDM pioneer Kaskade breaks the mold again with a new chapter of epic remixes on his latest release, undux (remixes). Collaborating with like-minded producers across the globe, he once again demonstrates his ingenuity as a creator. Stream Kaskade’s newest album, undux (remixes), wherever you listen.
If there’s any place you can fully commit to being your true self, it’s the rave scene. DJs and ravers all know this, and the more we embrace it, the better a space it becomes. One artist who clearly embodies this principle and strives for genuine individuality is Gardella. His music, personal style, and internet persona clearly reflect his security and confidence in who he is: EDM’s It Girl.
Moon Lvnding’s Rising Stars series annually highlights EDM’s most promising names and tells readers who to watch for. Within 2026’s dubstep and riddim DJs is Gardella, known for his hits “The Girls Are Making Riddim” and “Trollz.”
Getting To Know Gardella
Seamlessly blending experimental builds with wonky riddim elements and headbanging bass drops, Gardella’s high-energy music is explosive and addictive. Releases with labels Circus, Morflo, and Wakaan exemplify his wide range of sound and extensive genre knowledge.
Gardella’s music stylings are iconic and unique to him, which he found through years of experimentation. Carefully tuning his skill over time, his sound profile became one of its own. According to him, the track that best represents his style would be “Vertigo.”
Photo courtesy of Optimystic Endeavors
Producing since the age of 18, music has been at the forefront of Gardella’s life for years. He recalls his dubstep introduction as Skrillex’s “Scary Monsters and Nice Sprites” in Call of Duty: Modern Warfare 2.
“After that, I sold my guitar and bought a DJ controller,” Gardella said. “[I] have been obsessed with electronic music ever since.”
As his journey in EDM production continued, Gardella recognized his effort was paying off. He attributes where he is now to the work he put in back then.
“If things aren’t working, try a different approach. I never gave myself a Plan B so I made myself figure it out,” Gardella said. “My only friends who aren’t experiencing success to a certain degree are the ones who threw in the towel.”
An Icon Across Communities
In addition to the color he brings to the rave scene’s music catalog, he also expands the queer DJ space. Collaborating with other queer DJs and allies, such as Wreckno and Zingara, Gardella perpetuates the unity the rave scene craves.
Photo courtesy of Optimystic Endeavors
“I’ve met a lot of like-minded people and cool queer people in the scene which is a blessing!” Gardella said. “I love that I can represent a marginalized community and inspire other people to pursue their dreams.”
Although the positive reception from his audience outshines the negative, being queer in any space will receive backlash. However, Gardella refuses to let the hate affect his craft and sense of self. Regardless of negativity, his security in his identity stands out.
Photo courtesy of Optimystic Endeavors
“At the end of the day I’m literally EDM’s IT GIRL,” Gardella said. “If people don’t agree with what I’m saying or my sexuality, they’re not my target demographic and the last thing Ima do is be pressed over a homophobe.”
What’s Next For Gardella
While his career grew exponentially in 2025, Gardella has even bigger plans for the year ahead. With multiple event appearances lined up, he’s bound to land on many ravers’ radars.
“2026 is looking like it’s gonna be my biggest year yet. I have Red Rocks, Forbidden Kingdom, Illfest and a whole lot of other exciting things on the books,” he said.
In addition to performance milestones approaching, Gardella plans to expand his discography this year. A new EP is in the works while he plans on releasing new content monthly – including collaborations with friends. He urges readers to stream his latest track “Break.”
Reflecting upon the previous year, Gardella shared that his proudest moments were making music and performing with friends. He called the experience “god tier” and “goated even,” explaining he wouldn’t trade those memories for anything.
“One that I think of often is when me and Zingara played at the Wild Buffalo in Bellingham, Washington,” Gardella said. “I’ve never even heard of that area and I still don’t exactly know where I was, but the crowd energy that night was incredible. I love playing smaller venues with enthusiastic crowds versus a huge venue where you can barely interact with them.”
Among Gardella’s goals this year includes releasing works on record labels Bassrush and Deadbeats. His longer-term goals include playing Electric Forest and Okeechobee and to reconnect with the magic those festivals once provided him.
Overall, it’s clear Gardella is coming in hot, and he has no intention of slowing down anytime soon. His music is fun to listen to, generates movement, and brings people together – both onstage and in the pit.
His clear, undying love for being himself is evident and shines brightly through his social media and stage presence. If you need a new DJ to follow this year, let it be Gardella – EDM’s It Girl.
After an 11-year journey, the genre-bending, bass music heavyweight TYNAN released his debut album TYNAN TIME last Friday, February 11, 2026. This release marks a personal and creative milestone for TYNAN, who is quoted as saying, “This is the first time I feel like I really found my sound — what TYNAN actually is. I wanted this album to feel cohesive, like a full story. It’s meant to be listened to from front to back.” The road to this release wasn’t easy for him.
TYNAN recalls four years ago when he almost hung it up as an artist, “I told myself I’d give it one more honest try.” He recalls, “Now I feel like the sky is the limit. I’ve never been at this level before — I’m finally taking control of my project.” TYNAN TIME is a love letter to the EDM community, to dance music itself, and to his Oklahoma City roots — the latter even inspiring the track “his name is,” a nod to the city’s NBA championship glory.
The album’s tracklist flexes serious collaboration power. “cracked,” already making waves in Subtronics’ sets, pushes the boundaries of modern bass design. Meanwhile, collabs like “on fire” with Kompany and “bum rush” with Space Wizard channel the raw chaos and creativity that have defined TYNAN’s sound since day one.
So do yourself a favor — carve out an hour, press play, and let TYNAN TIME run from start to finish.
Following the album release, TYNAN is gearing up to take TYNAN TIME on the road, with tour dates coming soon. If you’ve never seen him live, prepare yourself: a TYNAN set is an explosion of EDM, pop-punk, humor, and bass drops so heavy they might just leave you in a neck brace.
Bass producer, DJ, and internet personality HEYZ reinvents the iconic Jay-Z classic “Dirt Off Your Shoulder” with a heavy, hard-hitting dubstep remix. HEYZ continuously pushes boundaries with each new project, creating visual narratives, innovative branding, and unconventional concepts that keep fans engaged and eager for more.
With a unique blend of humor, storytelling, and bass production, HEYZ has established a standout presence both online and onstage. Now one of the most viral names in the bass music scene, HEYZ’s rendition of “Dirt Off Your Shoulder” reimagines the classic through a darker, heavier lens, transforming it into a high-impact bass track designed for maximum energy. This release channels an aggressive, forward-driving sound that amplifies the original message of brushing off doubt and standing confidently.
After a successful run on his HEYZ’D and Confused Tour in 2025, HEYZ is carrying that momentum into 2026. Whether it’s his headlining shows or his appearances on the festival stage, fans can expect hard-hitting basslines, captivating visuals, and exciting surprises at every performance, showcasing HEYZ’s passionate stage presence. Stay HEYZ’d with the links below!
Hard dance heavyweights Kayzo and Water Spirit have teamed up for “XXX,” an uncompromising rawstyle collaboration, streaming everywhere on February 20, 2026, via Welcome Records. This collaboration marks Welcome Records’ first release of the year and adds another banger to their catalog. “XXX” is a must-listen, featuring a high-speed blend of rawstyle and hard dance, driven by rave stabs, punishing kicks, break-heavy momentum, and warped vocal flips that add a playful touch amid the chaos.
Kayzo // Photo Couetesy: MP3 LABS
Both artists lean into their most aggressive instincts for this collaboration, prioritizing physical impact while subtly weaving in Kayzo’s heavier, dubstep-rooted sensibility beneath the surface. Kayzo has been commanding crowds everywhere he goes. Since establishing himself, he has carved out a distinct identity as one of electronic music’s most unpredictable and boundary-pushing creators, merging the intensity of rock and metal with the pulse of heavy dance music, and “XXX” does just that.
“I started this song way back in 2023 on my Unleashed bus tour,” Kayzo recalls. I remember sitting on the bus before a show one day and just wanted to experiment with rock metal elements with hard dance and techno. The version I started back then was more of a hard psy version that for a while was THE version I played out. After about a year of that, I felt like the song needed new life. I remember talking to Water Spirit a while back about collaborating; I mentioned I had this idea lying around that I had been playing out and getting a good response, but felt it needed new life. We ended up basically re-recording all the metal bits and taking the drops in a much harder, more detailed Industrial meets Schranz and Gabber direction. This felt more in line with where our sound was and where it was going.”
Water Spirit // Photo Courtesy: MP3 LABS
Water Spirit is recognized for her high-energy sound and fearless fusion of hard dance, trap, and electronic rock. She is crashing into the U.S. hard dance and hard techno scene with undeniable force and a perspective that demands attention. As a queer, transgender artist, she embodies the ethos that “there’s nothing more hardcore than being unapologetically yourself.” Beyond the music, she designs her own artwork and visuals, bringing a fully realized creative vision to every release and live show, making her sound resonate across scenes and borders.
“This track was inspired by early rawstyle and slam music like peeling flesh, I think me and Kayzo both just wanted to make the most fun song we could think of and this is the result of that process, it’s got hard kicks, a fun premise and metal all wrapped into one package,” Water Spirit shares.
Kayzo’s upcoming special Los Angeles shows, produced with 6 AM Group and WORK, have recently added a second night due to high demand. The events will feature a strict no-phone policy, inspired by European club culture. With “XXX,” Kayzo continues to blur the lines between heavy music and dance culture, delivering a powerful statement designed for the underground, the warehouse, and the mainstage. Unleash and welcome to the dog pound — stay tuned for more updates!
Unleash yourself within the Dog House Fam using the links below!
John Summit took the stage on Saturday, February 7 for an amazing sold-out show at the Coors Light Bird’s Nest following the Phoenix Open. This marked the first time in years that a DJ sold out general admission at the Bird’s Nest. Summit recently released his new track, “Lights Go Out,” with a music video that quickly captured viewers’ attention. The video is a nod to his life before music stardom. Summit worked as an accountant before his rise to fame, thus the video takes place in office cubicles with employees dancing under strobe lights and throwing papers in the air.
Summit also hosted a competition where producers could remix his new song for a chance to have him play it live. Up-and-coming producer Dennet won the competition with a bass-heavy remix of the hit track. Summit opened his show with this remix, making the crowd go wild. He later closed the show with a short snippet of the original version of the song.
BUNT opened for John Summit and later took the stage at Maya Dayclub in Scottsdale following his Bird’s Nest performance. After BUNT, DJ Silver performed and incorporated some of John Summit’s hit songs into his set.
During his performance, Summit played one of his iconic remixes of “Die Young” by Kesha, transporting the audience back to 2012, as well as his remix of “Where Have You Been?” by Rihanna featuring Wooli. He also included his remixes of “Sweet Disposition” and “Silence,” which kept the energy high.
Summit performed his new song “Shadows” featuring LAVINIA, which was recently released on Wednesday, February 11. He announced that he will be releasing a new song from his upcoming album every other Wednesday before performing the entire album live during his closing set at Ultra Music Festival at Bayfront Park in Miami on March 29. Summit revealed that when he was working as an accountant, Wednesdays were the most difficult day of the week to get through. He chose to release new music on Wednesdays to help brighten everyone’s day and help fans push through the middle of the work week.
You can check out Summit’s new releases as well as his new music video below. Don’t forget to click the link below to purchase tickets to see his Summit’s at Ultra, where you can witness his new album performed live for the first time ever.
Chicago’s own Levity just pressed the red button. This time, they link with funk-bass powerhouse GRiZ for their debut collaboration, “Pop Off.” The single dropped today, February 11, via Ultra Records after months of viral live hype, and fans are already treating it like an anthem, not a newcomer.
The track wastes zero time. It hits fast, loud, and unapologetically physical. “Pop Off” gets the crowds to erupt before the first drop even lands. It’s engineered for maximum detonation. This new single fuses Levity’s hip-hop-informed drums with their melodic bass instincts; Meanwhile, GRiZ injects that unmistakable funk swagger and low-end bounce.
The chemistry between the artists didn’t just start in the studio. Instead, the record grew in front of thousands of screaming fans. GRiZ and Levity first debuted it together at the inaugural Seven Stars Festival, a 3-day music festival curated by GRiZ in Arrington, VA. Then, appearances at Re:Connect and tour stops kept the momentum climbing. Clips flooded timelines and fan pages like wildfire, and this unreleased ID became one of the most requested moments in every set.
“Pop Off” soundtracked Levity’s custom 360-degree “laser ship” production – an immersive visual build featuring hundreds of lasers and full-scale arena lighting. Uncomparable energy peaked during Levity’s sold-out hometown show at Wintrust Arena. The trio unleashed the largest laser deployment ever used for a North American bass show. Designed as a one-night, site-specific spectacle, the show centered on an arena-scale laser installation and surprise guest appearances, including GRiZ, reinforcing the collaborative energy behind the record and the shared creative DNA between both projects.
For Levity, the collaboration marks another leap forward. The Chicago trio continues stacking streams, festival plays, and massive tour stops. If you’ve caught the tour, you already know what happens next. Stream “Pop Off” now on all major platforms.
