Photo Credit: Molly Polus // @mollypolus

Mission Success: Ubbi Dubbi 2026

Set beneath the backdrop of a warm Texas weekend, this year’s Ubbi Dubbi festival, Into The Abyss, lived up to its dreamlike, aquatic roots. This year’s intillations were top-notch with the ever-popular portal ring leading into the underwater world. My personal favorite was the giant Ubbi Dubbi fan spread open, providing the perfect picturesque background for you and your rave fam!

While wandering through the festival grounds, it was nice to see so many crews embrace this year’s aquatic theme. I saw a plethora of top-notch jellyfish outfits that looked so intricate they must’ve taken months to sew. I was even pleased to see a few Mermaid Man and Barnacle Boy from the hit series, SpongeBob. Outfits aside, it was time to set coordinates for Dubbi’s Stage and go find the music!

Day One

I decided to kick off day one with local favorites Deluluz, and let me tell you, I see why they have been making major waves within the scene lately. Chock-full of charisma and big, bouncy dubstep drops, they got my blood pumping instantly. After enjoying their set, I cruised around for a bit, grabbed a quick and easy slice of pizza, and made my way to the Zoom Room. I stumbled upon SLAMM performing and was stopped dead in my tracks. Groove-laden house beats filled the air, and I began to enjoy my food with a soft bounce. Not on my radar for the day, they are a playlist add for all my house heads!

Making my way towards Ubbi’s stage (main stage), I wanted to get in a good position for Alesso’s sunset set. Not before being caught off guard by OMNOM’s performance first. OMNOM brought the heat to Texas! His set was powerful and sexy, main stage vibes with a warehouse feel. A wonderful precursor to Alesso’s set. Transporting me back to the golden era of 2010’s dance music, Alesso’s sunset set was sick! Tons of pyro and a spectacular firework show to match, this jam-packed performance had us dancing into the night full steam ahead!

Land Ho!

After this beautiful time capsule concluded, I made my way to Dubbi’s stage, located at the back, to catch Whethan’s performance. Jam-packed with gritty hip-hop bangers, Whethan did not disappoint! I’ve been trying to catch his set for quite some time now. Finally, the barnacles aligned, and I got lost in the euphoric wubs and gritty baselines that are Whethan. After washing back up on land, it was time to make a mad dash back to the main stage for Tape B. X marks the spot as Dubbi’s stage came into view.

Yo Tape B! Show ’em how it’s done!

Photo Credit: Tyler Church

With huge LED cassette tape aesthetics surrounding the decks, this bass master consigliere began his work. Ripping through heavy-hitting collabs and signature Tape B tracks, this Florida native commands the center of attention. I’ve noticed at other multi-genre events that it doesn’t matter who you are or what genre you’re primarily into; fans always flood a Tape B set. “Yo Tape B” screeches through the speakers as massive green lasers blast through the night sky. The city skyline was illuminated when a blast of lasers and/or pyro exploded with the beats. This set was headline material for sure.

Lastly, I remained in place to catch Kx5 (Deamua5 & Kaskade ). A pleasant nightcap to a wonderful evening of bass, wubs, and beats. Their set was magnetic. Witnessing these two legends of the game was a perfect way to end night one!

Day Two

After a hearty breakfast and plenty of electrolytes, I was off to the races on Day two! Making a mad dash to Dubbi’s stage, I wanted to check out Tinykvt first and see what this cvntstep was all about! Her performance was legendary, from ripping open Pokémon packs on stage to grabbing the mic and singing her own edits and remixes. Tinykvt opened up day two with precision. After that, I enjoyed half of Canvas’ gritty ATL-driven bass set, then made my way back to the front of the venue.

After wading around in front of the venue for a while, I cast my line towards Dubbi’s stage to catch Blanke. I love his drum and bass stuff, so I just had to see what “normal” Blanke set was like! Melodic and packed with heavy bass, Blanke was a pleasant surprise for me on day two. One could only reach for a buoy from all the waves he was making on Dubbi’s stage. Then came LAYZ…

Watch out for the Aftershock!!!

LAYZ has been on my radar to catch live for quite some time now. I was super stoked to witness her glory in person for the first time! Known for massive hits like “Shockwave” and lightning-style graphics, she began to fit the backdrop a little too well. Her commanding riddim and high-energy set blazed an illuminating trail in the beckoning thunderstorm overhead. Getting hungry, I decided to go grab some Island Noodles from the nearby food truck when the announcement struck. “Please make your way to the parking lot and safely evacuate the premises.”

Alas, the party was over. As some attendees remained bitter, I didn’t mind leaving early. The safety of the festival-goers, artists, and everyone involved is always number one. A Texas spring can be finicky, with hail, heavy winds, and even tornadoes. Disco Presents made the right call in closing early; no amount of music is worth risking people’s lives. I said goodbye to some friends and made my way back to my truck. Until next year, Ubbi Dubbi!

Stay connected with Ubbi Dubbi Festival

Photo Credit: @ashleyvonhelsing IG

Seven Lions And His ‘Garden Of Infernal Stars’

When it comes to building a mythos to bring an album to life, few do it better than Seven Lions. Those skills were on full display this past Saturday, April 11, as he and his team brought his new album on tour at Brooklyn’s newest premier club destination, Brooklyn Storehouse. In addition to his December 2025 album, Asleep in the Garden of Infernal Stars, Seven Lions also featured his two new singles from the follow-up EP, The Dreams Strange and Eternal, which is set to be released on Friday, May 1, 2026.

Joining Seven Lions for the tour stop in Brooklyn was Quackson, who got the party started at 10:20 pm. Nurko played next, featuring his sweeping melodic bass drops and some tasty new IDs. YDG was on duty as direct support, getting the crowd worked up with his take on some classic hip-hop and trap remixes. Then, after Seven Lions, Oliverse closed the night out from 3 to 4 am with some dubstep and DnB.

Seven Lions’ set ran 90 minutes from 1:30 to 3 am, and it was a non-stop trip through the Seven Lions mythos. He came right out of the gates firing with the gorgeous new song and video, “Free,” from his upcoming EP. To add to the ambiance, multicolored light fixtures hung from the ceiling and dropped down close to the dance floor, creating a dramatic effect throughout the cavernous 105,000-square-foot venue. In classic Seven Lions style, he seamlessly transitioned across his multi-genre catalog without ever saying a word. It was truly a work of art to hear him weave together his influences across melodic dubstep, psytrance, and black metal, which are noticeably forward in tracks like “Thrice Woven.”

Speaking of his new single “Free,” Seven Lions and Ophelia Records teamed up with EDMTrain and FL Studio to announce a remix contest for the track. The stems are available for download, and the contest runs from April 14 through May 8. The contest winner will be announced on May 12 and will receive access to FL Studio software, the remix released through Seven Lions, and a merch box from Ophelia Records. It is great to see artists giving back to their community, especially after Seven Lions famously won a 2011 remix competition for Above & Beyond’s “You Got To Go.”

With so much going on in the mythos of Seven Lions, Moon Lvnding took the occasion to speak with him before he got on the stage in Brooklyn.

Moon Lvnding: What’s it like to get back out on the road?

Seven Lions: It’s cool. Happy to see all the energy!

ML: What was it like to build the dreamstate of the new album Asleep in the Garden of Inferna Stars?

SL: This one has been really cool. We spent a lot of time on the artwork, and really incorporating my roots as a metalhead into it, which has been cool. I’m always pulling from my background, but this album in particular feels very much like a culmination of a lot of things that I love, like horror movies and fantasy.

I did pick and choose the songs. There were a few that ended up getting pushed to the EP, which didn’t feel like they fit the album because they were a little more pop-leaning… [it’s] part of the reason why there was an EP because songs like “Hurricane” and “Free” didn’t quite fit what I wanted on the main part of the album.

Seven Lions at Hijinx // Photo Credit: @pitcrewproduction IG

ML: What was it like building the production for a huge venue like Brooklyn Storehouse?

SL: It sounds like it’s this glorious creative thing, and it is in some sense, but a lot of it is calls and diagrams. The fun part is building the show, though, once you have the stage part dialed in, then you’re gonna figure out what to put on the stage, that’s been really cool!”

ML: I know as a gamer, you’re a big fan of creating easter eggs in your mythos design. Are there any in the album or artwork you’d care to share with us?

SL: Mainly, the metal logos and things like that are really just a callback to growing up in the metal scene and really wanting to capture that aesthetic.

ML: Speaking of metal, you mention in one of your videos that your mom had a strong reaction to your new music. What songs did she really like?

SL: “Cold as Snow” for sure, she hit me up right after she heard that one and was super stoked on it. Anything that has metal-related stuff, I think she knows me well enough.

ML: Finally, here at Moon Lvnding, we have the motto of “uniting the world through music.” What does that mean to you?

SL: It’s just community building… that’s always been the goal with Ophelia [Records], and getting people together in a cool environment and listening to music that’s positive. Even though there’s moments of light and dark in the set, I think generally the crowd and the people that we bring are a really eclectic, interesting, kind crowd of people. I’m really proud of that, I love our community, and I think we’re doing a good job in our little corner of the world of bringing people together… that’s what I’m most grateful for, as far as what I get to do every day.

Likewise, the EDM community is grateful for everything Seven Lions has contributed over the year. There are still five more dates on this first phase of the Asleep in the Garden of Infernal Stars Tour, including stops in Texas, San Francisco, and Red Rocks in Colorado. In addition to his album tour, Seven Lions has a huge run of festivals planned for 2026 with heavyweights like EDC Las Vegas, Rampage, Tomorrowland, and Shambhala, to name a few. For the full list of Seven Lions tour stops and festival appearances, check out his website, and for everything else, use the handy social media links below.

Photo Courtesy: @roddylima Instagram

Roddy Lima Showcases Brazilian Sound In Brooklyn & Beyond

Closing a room without losing it is harder than building one up. On his recent ‘Toxic’ Tour, Roddy Lima showed Brooklyn’s SILO Nightclub how to execute closing duties in style. On March 20, before his Miami Music Week appearances, he took over a dancefloor that was already moving and elevated the vibes, working through slow grooves and steady buildups that kept the room locked in from 2 am to close. 

Watching him work, what stood out most was his composure. Moving between the CDJs without hesitation, just steady decisions and clean timing. From a DJ perspective, it was clear he understood how to hold a room without forcing it. No wonder his audience in the U.S. keeps growing, and he’s getting booked for the world’s biggest festivals.

Throughout the set, he introduced rhythmic elements that hinted at his Brazilian background, especially in the way he used funk-leaning percussion loops to reset tension before drops. Small adjustments that kept things from feeling predictable without breaking the flow he had already established. SILO’s DJ booth provided an in-the-round setup that changed the dynamic of the night. With the booth centered and the crowd surrounding him, it felt closer to a working session than a stage performance.

Photo Courtesy: @roddylima Instagram

Lighting stayed tight with the music, drops landing with flashes that matched the rhythm. Nothing overproduced, just enough to keep the focus where it belonged. People were there to dance. The dancefloor stayed consistent, the movement constant; not overcrowded, not thinning out.

For most of the night, phones stayed away, and attention stayed with the music, which says more about a set than any reaction video ever could. His sound carried a recognizable bounce-techno structure with funk movement underneath it. Groove first, pressure second. Nothing felt rushed, and nothing felt dragged out longer than necessary.

What started as a bedroom project in Sao Paolo, Brazil, has blossomed into an international touring career. Ever since Lima’s U.S. debut alongside John Summit last year and subsequent hit single “Night Time,” his schedule has been expanding. After his Brooklyn show, he finished a successful run at MMW with Experts Only, MADMINDS, and LALALAND to close out his current ‘Toxic” Tour dates.

This weekend, Roddy Lima will perform at Coachella’s Do Lab on April 11, one of three Brazilians on this year’s lineup. He follows that up with elrow Dallas on April 17 and Breakaway Tampa on April 18, before EDC Las Vegas on May 15, including a second appearance at the Camp EDC Pool Party. To keep up with all the latest announcements and headline show dates, check out his socials below.

Photo Cred: Don Idio for Insomniac

Mission Success: Beyond Wonderland SoCal 2026

Beyond Wonderland SoCal provided another glorious journey down the rabbit hole. In 2026, we enjoyed fireworks, big-name artists everywhere, side quests all around the festival grounds, and Mad Hatter parties on stage!

A few new additions to this year’s Beyond were drone shows every night, along with the fireworks. On theme, the Mad Hatter would bring out Time, Alice, and friends to jump in and DJ for 10 minutes between the final two artists of the night. The crowd loved the Mad Hatter! People were smiling, taking videos, and dancing around for the occasion. Let’s check out the stages of the West Coast’s favorite start to festival season, Beyond Wonderland.

Queen’s Domain

The main stage of Beyond never disappoints in design, hosting the biggest names across multiple genres. On Day 1, Chyl brought her high-octane bpms, and it’s Murph bought the bass and vibes. Alison Wonderland had the crowd grooving before getting closed out with sets from two legends, Steve Angello and Tiesto.

Day 2 started with “Cinema” OG, Benny Benassi, taking a trip back to the classics. Deorro got the people dancing, then Slander had ’em headbanging. Zedd made it happen for the closing set, sending Queen’s Domain out in style and giving everyone some “Clarity” heading home.

This year’s stage design immersed the headliners in the land of Beyond. The huge LED wall behind the DJ and the Queen’s heart centerpiece created an amazing backdrop for the artists. The accompanying lasers, lights, and pyrotechnics made it hard to ever leave.

Caterpillar’s Garden

Lost in Dreams hosted Day 1 at Caterpillar’s Garden with the opening party performed by LA’s own, Valentino Khan. Lost in Dreams is all about the melodic bass music and the label delivered! Performances by Yetep, Trivecta, Armnhmr, and Dabin to close had festivalgoers singing, dancing, and crying together all night.

On Day 2, Caterpillar’s Garden was hosted by Insomniac Records, with a completely different house vibe. Ian Asher played b2b with Wuki for the opening party, and this stage brought non-stop house hits from some longtime label stalwarts like Omnom, Noizu, Sonny Fodera, and Matroda. The green garden vibes made for a beautiful scene as everyone danced the night away.

Photo Credit: Jake West for Insomniac

Mad Hatter’s Castle

The Mad Hatter fittingly hosted the bass heads all weekend. It started with trap beats from YDG, and continued with insane bass in sets by Restricted, Hedex, and Holy Priest. The energy during those three was unmatched throughout the weekend. ATLiens got the crowd even more wound up before GRiZ made his triumphant return to Beyond.

Bassrush hosted Day 2, and once again, the Mad Hatter did not disappoint. Rising solo act, ProbCause came out strong, followed by GorillaT. Then Layz played one of the heaviest sets of the weekend. The bass continued to flow with a b2b from Eptic and Space Laces, then heavyweight titans Sullivan King, Black Tiger Sex Machine, and LA’s favorite big man, DJ Diesel.

Cheshire Woods

Hardstyle found its home in Cheshire Woods as Basscon hosted Day 1. With arguably the coolest stage design featuring lasers shooting out all around a cathedral setting, the energy was non-stop. Legends littered the lineup with Lady Faith, Sub Zero Project, Brennan Heart, and the king of BPM, Lil Texas.

Bringing a completely different vibe, Dreamstate took over the woods on Day 2. Trance’s biggest names were out in force. Cold Blue, Giuseppe Ottavianni + Ian Bluestone, and laser king Gareth Emery all played on the Dreamstate lineup with iconic duo Vini Vici to end the weekend.

The Looking Glass

Factory 93 hosted both days at The Looking Glass, which meant techno all night, every night. Gracing the stage were Trym, Layton Giordani, Klangkuenstler, Lilly Palmer, Hi-Lo, and Nico Moreno playing the closing set on Day 2. The techno vibes were alive and well, with pyrotechnics firing out from all over the stage and a diamond-shaped disco ball made from LED walls behind the booth.

Sea of Wonder

This stage was located between the Queen’s Domain and the Mad Hatter’s Castle inside the hanger. It was unique in that it was the only stage inside, insulating the sound from the other areas. Day 1 was hosted by Night Trip and supplied the grooves with Murphy’s Law, Loco Dice, and Nicole Moudaber.

Day 2 was hosted by RNBW and featured some big names from the drum and bass world. Getting the crowd moving and energy at an all-time high, the likes of Justin Hawkes, Grafix, Delta Heavy, and Shy Fx doing the honors.

Photo Credit: Keiki-Lani Knudsen for Insomniac

The Rabbit Hole

Besides the music, Beyond Wonderland has many more experiences to offer. Inside the Beatbox hangar, there was a full-on tea party. One could sit down and hang out with cast members, take pictures on the throne, and relax under a tree.

Insomniac also brought out the carnival rides like the Ferris Wheel, swings, and the parade of the Mad Hatter and friends. There were notable art installations, like the Mad Hatter’s Hat of Fire. For those lucky to find the correct door outside of the Mad Hatter stage, there was even a secret hidden stage! To help with connectivity, there were two new Wi-Fi centers at the festival, so people could better make plans with their friends.

End Overdose

Another important resource at Beyond Wonderland this year was a tent from End Overdose, next to the main stage. I met with the CEO and got some awesome highlights on how they make the festival safe. They have trained over 700,000 ravers on what to do if they see someone overdosing and have distributed over 750,000 Narcan devices.

At the information booth, they train people on the four-step process of recognizing the signs of overdose, how to seek help, how to administer Narcan, how to perform rescue breathing, and the laws that protect people who try to help. At the end of the training, each person receives a certificate for completing the program.

All things considered, Beyond Wonderland SoCal is a festival that ravers around the world look forward to starting the spring festival season. You can already reserve your spot for 2027. Moon Lvnding is already looking forward to our trip down the rabbit hole next year!

Jeff Mills in Tokyo // Photo Credit: @jeff_mills_official

Jeff Mills’ Iconic Live At Liquid Room 30-Year Anniversary Tour

Late into Saturday night, Jeff Mills stepped up to the decks at a sold-out Knockdown Center, the moment the room had been building toward all evening. The crowd felt like a reflection of his legacy — ravers of all ages sharing the same floor, longtime followers alongside a younger generation, both there to witness one of Detroit Techno’s originators in real time.

The room set the tone. Dark, raw, and industrial, with heavy bass filling the space while lights moved tightly with the rhythm. The production created an atmosphere that only intensified the vibes that the music created.

The night opened with a 30-minute screening of footage from the original “Live at Liquid Room” along with never-before-seen clips and commentary from Mills. The 1995 recording still stands as one of the clearest examples of techno DJing at its most technical and forward-thinking. Liquid Room remains a defining space in Tokyo’s electronic music history, tied to a period where DJs like Mills were pushing the limits of what could be done with vinyl and instinct alone. Thirty years later, the influence of that era still feels present, not as nostalgia but as part of the foundation the techno genre continues to build on.

Jeff Mills in Detroit circa 1994 // Photo Credit: @jeff_mills_official

Mills played immediately after the screening, building the energy with the kind of patience and control that has always defined his style. Ken Ishii followed with a two-hour set that kept the room locked in, his precision and track selection feeling like a natural continuation rather than a reset.

Mills returned around 3:30 am with a surprise feature from the renowned producer, Beltran. The surprise turned into a quiet display of experience — quick hands moving through records, effortless transitions, and the kind of real-time decision making that shows how physical vinyl is DJing at its highest level.

The dancefloor stayed fully engaged deep into the night. There was a real sense of respect in the room — for the craft, for the history, and for what was happening in front of them. Thirty years after Liquid Room, Mills still moves with the same purpose. Watching that level of control up close felt less like looking back and more like being reminded why his approach still sets today’s standard.

There are still a few tour dates on Mills’ first phase of the Live at Liquid Room 30th Anniversary Tour, with a trip to South Africa before finishing in Strasbourg. Jeff Mills will also play at some summer festivals in Europe, including Neopop outside of Porto, Portugal, and Brunch Electronik in Barcelona, Spain. To keep up with all the latest from this living techno legend, follow Jeff Mills at his socials below.

Photo Credit: @samwolloch

Heyz Lights Up The Ogden With Laser Cage

Viral dubstep producer Heyz brought his biggest headline show ever to Denver’s Ogden Theatre last Saturday, March 14. Highlighting the sold-out event was ingenious Laser Cage production, which surrounded his DJ setup with three walls of floor-to-ceiling lasers. It was by far the most lasers I’ve ever seen in a similarly sized theatre setup with jaw-dropping lighting all night long.

Denver local Solfire got the party started with a mix of deep dubstep and her lyrical originals. Up next, Brainrack B2B Wiley took over the room with a heavy-hitting arsenal of collabs and a boatload of fresh IDs from both artists. Finally, Black Carl! got the crowd pumped as direct support for Heyz, blasting his new tunes “Nonstop” and “Act a Fool” to the energetic crowd. Mosh pits swirled through the dancefloor for the better part of the night.

Pink Lasers seen from the mezzanine of The Ogden
Photo Credit: Shae McCormack // @shaelien111

Heyz took over around 11:30 pm, and for the next 90 minutes, he commanded the room with his heady blend of viral flips, beloved remixes, and engaging originals. Calls to “Open the Pitoris” were met with a roar from the crowd and renewed energy for the mosh pits in The Ogden.

But it was the laser cage production that kept me engaged from start to finish. In addition to the dozens of floor-to-ceiling lasers surrounding the DJ decks, strategically placed lasers shot across the theatre to the back wall and diagonally from the ceiling to the floor. It was one of the most stunning laser displays I’ve seen at a headline show outside of a festival setting. Heyz brought the action, and the pictures barely do it justice.

Heyz at the DJ decks with the laser cage behind him.
Photo Courtesy: Emma Rojo & MP3 Labs

Selling out The Odgen is another big milestone in Heyz’s journey as a Denver producer. As he left the stage, he told the crowd that he would be aiming even higher for his next Denver headline show, with his sights set on Mission Ballroom. Building on his HEYZ’D and Confused Tour, Heyz prepares for the biggest booking year of his career with huge festival appearances at EDC Las Vegas, Beyond Wonderland Chicago, and Electric Forest, to name just a few. Keep an eye on his website and social media pages linked below to stay informed of all his latest announcements and antics.

Mission Success: Monolink at Summit

Monolink has spent the past month crossing the United States in support of his third studio album, The Beauty of It All. The 16-date run brought the German songwriter, producer, singer, and multi-instrumentalist back to Summit Music Hall on February 24th. Monolink has maintained a steady relationship with the city, which has grown over the years. Denver audiences have followed his rise from a 2018 performance at Bar Standard to an appearance at Red Rocks Amphitheatre in 2021 alongside RÜFÜS DU SOL, and a sold-out headline show at Summit in 2022.

Before Monolink took the stage, French duo Parallelle warmed up the room with a live set that immediately got the crowd moving. Performing material from their latest album, 11th Avenue, the pair blended live vocals, loop machines, and laptop production. Their layered, melodic grooves slowly got the crowd moving on the dancefloor.

By the time Monolink took the stage, Summit was packed wall-to-wall. Returning with a brand new stage setup, his performance blurred the line between a DJ set and a live concert. The night centered around The Beauty of It All. Its cinematic melodies and introspective songwriting translated seamlessly into a live setting. There was something for longtime fans as well. When the opening notes of “Sirens” and “Father Ocean” from his first album rang out, the crowd responded instantly, singing along as the tracks unfolded.

Across the two-hour performance, Monolink carefully balanced energy and intimacy. At times, the room pulsed with danceable rhythms, while other moments felt almost suspended in time. It was just him alone on stage the whole night. He delivered stripped-down vocals that hushed the crowd, standing with his guitar or seated at the piano.

If you missed Monolink on this run, don’t make the same mistake again. Stay up to date with everything he has coming next using the links below.

Mission Success: System Overload Festival

System Overload premiered this past weekend with a statement: the underground is thriving, and the community is louder than ever. Across two sweat-soaked nights, the event transformed Rawhide into a pressure chamber of strobing lights, chest-rattling subs, and wall-to-wall energy that refused to dip.

Day One

The inaugural System Overload festival will undoubtedly be the topic of conversation for weeks to come. A full lineup of bass and riddim artists was something Rawhide had never seen, and we loved it!

Walking through security, the first thing you can feel is the bass billowing from the Vault 404 stage. As you walked into The Barn, Mile32 greeted you with a face full of dubstep. It gave you an irresistible urge to run right up and break the rail in two. The energy was so high that it was hard to consider even seeing the rest of the festival. The only thing that got people moving was a simple, infuriating question.

Who the F#%k is Richard Finger?!

Richard Finger System Overload stage shot

Outside at the Power Grid Stage, Richard Finger, an anonymous duo with finger masks, had the overwhelming majority of the early crowd captivated. We’re not sure if it was the masks (which politely presented the finger between your index and ring finger) or the insane flips and remixes that pulled in the crowd. Regardless of the reasoning, everyone was entertained.

For the wanderers and side questers looking for entertainment away from the music, a fun installation could be found in the back corner of The Barn. A mini arcade! Strangers turned into friends through friendly competition on old school games like Pac-Man, Time Crisis, Mortal Kombat, and even the first Big Buck Hunter. Although the nostalgia for the arcade games was captivating, the subwoofers served as a siren’s song, luring the wanderers back to the stage.

The energy of night 1 was turned up to the max from start to finish. Samplifier’s remix of Crankdat’s viral song “Movement” got a crowd reaction that could be heard from Los Angeles. The crowd then gave a louder roar when Wooli, Friday night closer, played his new track with Cyclops called “Jazz Cabbage“.

Day Two

If night one set the tone, night two shattered expectations. Word had clearly spread, because the energy surged from the first beat. Sets felt heavier, transitions tighter, and the crowd even more dialed in. Artists pushed boundaries, weaving in unexpected genre pivots — flashes of trap, bass house, and cinematic interludes — before slamming back into bass-driven chaos. The diversity kept the experience fresh, proving that the lineup was curated with intention rather than repetition.

SLANDER System Overload finale fireworks

Eptic brought razor-sharp sound design and mechanical precision, firing off punchy drops and chaotic switch-ups that kept the pit in constant motion. His set felt calculated yet wild, a masterclass in controlled destruction. Dropping “Wall Of Death“, the crowd did what any crowd should, and moshed at eachother into oblivion. NGHTMRE followed, blending festival trap energy with bone-rattling bass and euphoric builds. No matter the time or day, NGHTMRE always puts on a gnarly show, and I will die on that hill!

Closing out night two, SLANDER hit with emotional force, weaving melodic dubstep anthems through thunderous breakdowns that turned the venue into a sea of raised hands. Their ability to balance vulnerability and sheer power created one of those rare, goosebump-inducing finales. The entire venue felt synchronized. Phones dropped, hands went up, and strangers locked into the same rhythm. It wasn’t just a show — it was a shared release.

Finale Of A Lifetime

System Overload didn’t just meet expectations; it reinforced why these events matter. The sound was massive, the visuals were dialed, and the performances were fearless. And can we take a moment for those lasers?! More importantly, the crowd showed up with passion and respect, elevating both nights beyond standard concert territory. In a scene that constantly evolves, System Overload proved one thing this weekend: when production, talent, and community align, the result isn’t just loud — it’s unforgettable.

Photo Credit: Shae McCormack // @shaelien111

Subtronics Conquers Brooklyn Storehouse

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.

TYNAN Unleashes Debut Album: ‘TYNAN TIME’

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.