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.
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?!
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.
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.
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.
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.
Last year, the mysterious riddim collective known as The Resistance released their debut EP EVIL EMPIRE. Now, exactly one year later, they’ve returned with an 11-track remix compilation, EVIL EMPIRE (THE REMIXES) featuring some of riddim and dubstep’s top producers. With the original EP already regarded as one of the defining riddim releases of the past year, each reimagined track brings fresh and exciting energy to the project.
The Resistance consists of nine anonymous, distinct creative voices united under a shared vision that blends heavy bass with dystopian themes to create immersive live experiences. Having gained attention for their theatrical stage presence, the group maintains anonymity through sinister masks and a Star Wars-inspired aesthetic.
The original EP featured four tracks, but the remix project comprises multiple reimaginings of each one. The breakout title track, “EVIL EMPIRE,” has been remixed by both FuntCase and OG Nixin. “BATTLE OF CRAIT” receives three remixes from Automhate, Mvrda, and JUB, while “T-70” also gets three new versions from Chibs, Muerte, and Ophion. Closing out the release are three remixes of “LASER BRAIN” by Aweminus, ONAra, and Izzy Vadim. From laser-focused riddim to experimental production, each track delivers a unique flip that takes the original EP into new sonic territory.
This compilation arrives just ahead of The Resistance’s new audiovisual experience, SHADOWCELL, set to premiere in early March at RAMPAGE 2026, Europe’s largest bass music festival. Sharing the stage with hard-hitting acts like Sub Focus, Infekt, and Wooli B2B Crankdat, their performance is expected to blend immersive world-building, cinematic storytelling, and devastating sonics. With the release of this remix compilation alongside the debut of SHADOWCELL, 2026 is shaping up to be a pivotal year for The Resistance.
After dropping his highly anticipated fan favorite track “Dolori,” the first single from his upcoming studio album Moonglade Park, Of The Trees is back with another undeniably bass-forward hit, “Look Into My Eyes.” Collaborating with Atlanta’s iconic hip hop duo EARTHGANG, the track showcases a different side of Of The Trees’ production compared to “Dolori,” highlighting the range of sounds and vibes listeners can expect across the upcoming album.
“It’s been a lot of fun working with Of The Trees on this record,” said EARTHGANG. “This record is one we think is an example of true collaboration. We both brought something from our worlds that created something fresh that we believe both of our fans will enjoy.”
First debuting in Atlanta and later featured in Of The Trees’ 2025 Electric Forest headline set, “Look Into My Eyes” pushes the boundaries of both hip-hop and electronic music, showcasing the forward-thinking creativity of each artist within their respective genres. The track is a genre-defying fusion of cinematic bass, immersive low-end sound design, and EARTHGANG’s intentional, hypnotic lyricism. The result is a dancefloor-ready yet introspective cut, driven by cinematic bass and a moody, atmospheric vibe.
Similar to the release of his first single, “Dolori,” Of The Trees and EARTHGANG have also dropped a music video alongside “Look Into My Eyes.” Filmed in Fairplay, Colorado, the video captures the genuine creative chemistry between the artists while showcasing the natural environment that inspired the album. Watch the newly released music video below.
OF THE TREES
Photo Credit: Frankie Zarantonello @franki3lee
Based in Denver and originally from Maine, Of The Trees has been captivating audiences with his signature blend of dubstep and hip hop, pairing expansive synth textures and layered chords with hard-hitting 808s. In 2016, he released two full studio albums, debuting Dream Atlas in February, followed by Duat later that July.
Over the past decade, he has collaborated with major artists like John Summit and Curren$y, amassed millions of streams across tracks such as “Spanish Moss,” “Windhorse,” and “Everglade March,” returned to Red Rocks for a second consecutive year this past November, and launched his two day immersive event Camp Alderwild, which blends music, nature, and community. These milestones marked the start of his 30+ date national bus tour, featuring support from artists like Opiuo, Detox Unit, and EAZYBAKED at iconic venues including The Salt Shed, The Hollywood Palladium, BayCare Sound, and Brooklyn Paramount. With most dates already selling out, fans are encouraged to secure tickets soon to catch the remainder of the tour at www.ofthetreesmusic.com/tour.
Now, nearly a decade after his previous studio albums, Of The Trees returns with Moonglade Park, a project that reflects on environmental preservation, memory, imagination, and creation within a world driven by noise, speed, and automation. Inspired by full album listening experiences, he took the immersion a step further by wiping his social presence and beginning the curation of the Moonglade Park universe through a companion website, www.moongladepark.com. The site acts as a digital storyteller, mapping fan experiences, tour stops, and music video releases while embracing a late 1990s retro national park aesthetic. With two releases already out, the album is shaping up to embody everything Of The Trees stands for: intentional music rooted in stillness, growth, and transformation.
Hailing from Atlanta, EARTHGANG is a Grammy-nominated, genre-bending hip hop duo known for their boundary-pushing sound and philosophical lyricism. After signing to Dreamville in 2017, the duo carved out a distinct lane as leading voices in progressive hip hop, blending Southern hip hop influences with a forward-thinking creative vision.
With hundreds of millions of global streams, EARTHGANG has collaborated with major artists including J. Cole, Young Thug, Curren$y, Wiz Khalifa, and CeeLo Green. Their cultural impact continues to grow, earning praise from outlets such as Rolling Stone, Pitchfork, Interview Magazine, NME, Highsnobiety, and VICE for their immersive storytelling and thoughtful reflections on modern culture. Their work often addresses timely issues, including artificial intelligence, environmental justice, mental health, and spirituality.
Beyond their music, EARTHGANG founded The EARTHGANG Foundation, a nonprofit focused on local empowerment initiatives and climate advocacy aimed at raising awareness and action around environmental injustice. In recognition of these efforts, the duo was honored at the White House by Vice President Kamala Harris and awarded their own EARTHGANG Day on April 27 by the city of Atlanta.
Originally from Connecticut and now based in Austin, TX, Jensen Truly is an emerging electronic artist known for immersive soundscapes and emotionally driven performances. After spending part of his childhood in Ajijic, Mexico, he developed an early appreciation for music and culture, influenced by his father’s lifelong involvement in the industry. While music was always present, it was not until high school in Austin that Jensen found his creative direction, turning to DJing as an emotional outlet and gradually building a name for himself through underground house parties.
Following high school, Jensen traveled and volunteered abroad, working on farms in Australia and conducting marine research in Thailand, where a pivotal set at the Full Moon Party cemented his decision to pursue music professionally. After the loss of his mother in 2023, Jensen committed fully to refining his craft through music production studies at Berklee College of Music and Austin Community College. Now, with his debut editorial release “Inconclusive,” Jensen steps into a new chapter of his artistry, sharing a more personal and intentional side of his sound.
“I started ‘Inconclusive’ two years ago and forgot about it until one night I was digging through old demos and found the first version,” said Jensen Truly. “It was totally different back then, but the vocals and keys pulled me back in and pushed me to finally finish it.”
“Inconclusive” is an emotional yet dancefloor-ready track that blends elements of funky house, stutter house, and old school house. The single balances groove-driven rhythms with subtle emotional depth, creating a sound that feels both personal and built for late-night dance floors. It reflects Jensen Truly’s ability as an artist to turn introspection into movement.
If you like the energy of Jensen Truly’s “Inconclusive,” be sure to explore more of his music at the link below. You can also catch Jensen live at his upcoming shows, including his personal project The Furnace in Austin on February 6, opening for Angrybaby at The Marc in San Marcos on February 13, and his festival debut at Big Bond Music Festival on March 27, a boutique camping electronic music event in the heart of the West Texas desert.
Burko, a San Diego-based producer and DJ, has been climbing the ranks in the Southern California music scene and clearing out a bold new trail with his dark, cinematic sound. Building on that momentum, Burko unveils his latest two-track EP, Somnus. “The EP sits in my signature space: dark indie dance with a melodic techno edge,” he says.
While many producers draw inspiration from the studio environment, Burko looked inward for this project. According to the artist, Somnus is a body of work born from the space between consciousness and dream. “Each track idea arrived to me in my sleep as if transmitted through the subconscious,” Burko shares.
“Rather than being built solely in the studio, these songs carry the surreal weight of music born from the dream state. Waking up from the dream and remembering the melodies, I turned each idea into the songs on this EP.” This ethereal origin is reflected in the EP’s sound design. Characterized by heavy analog synths and brooding rhythms, Somnus stays true to Burko’s roots.
Burko // Photo Courtesy: Panda Lab Records
To support the release of Somnus, Burko has debuted a new press shoot that visually echoes the EP’s subconscious themes. By using distorted reflections to mirror the project’s origins, the imagery serves as a portal into the “dreaming music” concept.
Somnus isn’t just a collection of new tracks; it marks a significant pivot toward a more refined and intentional sound. “This release marks a new chapter for me, fusing raw inspiration with a refined and distinctive sound that continues to earn support from global names like Deadmau5, Lane 8, David Guetta, Yotto, and Above & Beyond,” Burko affirms.
With Somnus, Burko does more than just release new music; he invites listeners into the deepest corners of his creative psyche. By capturing the fleeting melodies of his subconscious and grounding them in his trademark dark, indie dance production, he further establishes himself as a singular voice in the dance music landscape. As he bridges the gap between the dream world and the dance floor, one thing is certain: Burko’s ascent is no longer just a Southern California story, but a bold new chapter in the dance music scene.
Dive deeper into Burko’s dreamscape by following him using the links below, and make sure to find Somnus headlining our New Music Friday playlist this week!
Following the release of their highly acclaimed album Return to the Spectrum of Intergalactic Happiness, the iconic duo, Zeds Dead, returns with another groundbreaking track, “Runaway,” incorporating elements of DnB and future bass. Marking their first release of 2026, they have collaborated with IMANU and vocalist MKLA to create a single that is both dynamic and emotionally charged.
“Runaway” begins with an ethereal yet heavy drop fused with MKLA’s airy, emotional vocals before launching into an adrenaline-fueled second drop that showcases IMANU’s cutting-edge DnB skills. Bridging the two producers’ differing styles, MKLA’s vocals serve as an anchor for the track, creating a timeless sound poised to dominate sets across the electronic circuit in the coming year.
This track follows a career-defining year for Zeds Dead after releasing Return to the Spectrum of Intergalactic Happiness, further cementing their legacy as boundary-defying electronic visionaries. Having spent the last decade carving out their own space within the industry, Zeds Dead are on a roll that seemingly cannot be stopped. They recently sold out their 12th annual Deadrocks event at Colorado’s most iconic venue, Red Rocks Amphitheatre, showcasing their dominance in the industry and unwavering fanbase.
ZEDS DEAD
With a career dating back to 2009, Zeds Dead released their debut album Northern Lights in 2016, and immediately fans knew they were curating something special. That same year, they launched their Deadbeats label, which continues to stand as one of the leading independent labels in dance music. With over 300 releases featuring artists such as REZZ, Subtronics, GRiZ, Levity, and Zeds Dead themselves, it’s clear they remain among the strongest tastemakers in the game right now.
For IMANU, formerly known as Signal, this release follows a series of major creative milestones, including headlining his De Verte showcase in collaboration with Mixmag LAB during ADE this past October. Known for his experimental sound design and genre-defying production, IMANU has earned over 100 million streams across platforms, with collaborations alongside Zeds Dead, Subtronics, and Noisia. Continuing to expand his De Verte events, he is set to embark on a tour across Asia and has also branched into the fashion world with his sustainable brand, 14SAINTDENIS.
Back with a collaboration ten years in the making, Kaskade, CID, and Anabel Englund have released their highly anticipated progressive house track, “Vision Blurred.” Debuting on John Summit’s label Experts Only, the single features Anabel Englund’s unmistakably polished and emotive vocals. The track has already gained momentum over the past year, having been played out in DJ sets across the global electronic circuit. Following previous standout collaborations like “Us” (2015) and “Sweet Memories” (2016), “Vision Blurred” is poised to become a staple on both main stages and club floors this year.
“CID and I have been crossing paths creatively for more than a decade now,” said Kaskade, “and every time we come back together it feels familiar in the best way. I’ve been trying to work with Anabel Englund for approximately forever, but just couldn’t find the right song. Then ‘Vision Blurred’ came along and it all finally came together.”
“This is a song that’s made to be played loud and I dare anyone NOT to sing along. Over the past few months, fans have been coming up to me after shows, humming the song and asking for the ID. It’s been amazing to see this type of familiarity with ‘Vision Blurred’ even before it’s out, it’s already in the atmosphere. Now all we have to do now is release it.”
This track, “Vision Blurred,” perfectly encapsulates the trio’s shared vision of creating timeless classics that are sure to captivate audiences across festival stages, large-scale venues, and underground club spaces. It features an irresistible beat layered with Anabel Englund’s melodic vocals.
”Really excited to make my debut on Experts Only,” said CID. “Getting John’s stamp of approval on this one means a lot. With Kaskade, it feels like a full-circle moment working together on a new track after so many years. And the same goes for Anabel. Getting back in the studio with her and writing this felt effortless. I feel like we each brought our signature sounds and strengths to the table, and together we created something truly special.”
KASKADE
Kaskade has solidified himself as a household name in electronic music with an iconic career that has been thriving since the late 1990s. An eight-time GRAMMY Award nominee and winner of Best Male Artist at the iHeartRadio EDM Awards, he has played a pivotal role in bringing electronic music into the mainstream. That influence has recently extended into the world of sports entertainment.
In 2024, Kaskade made history as the first-ever in-game DJ, performing for an audience of more than 123.4 million viewers. He continued this momentum with appearances at the X Games in Ventura, California, a post-Phillies game set in July, and a performance at a LIV Golf tournament. That same year, he also became the first-ever starting grid DJ at a Formula 1 race in Miami.
Beyond these milestones, Kaskade made a surprise appearance at Coachella in 2024 alongside John Summit and Alison Wonderland, followed by a three-hour B2B set with Idris Elba in 2025. His ability to transcend genres has established him not only as an icon within electronic music but also as a crossover force with a broader audience, collaborating with artists such as Jennifer Lopez, Alicia Keys, Meghan Trainor, and Gwen Stefani. As he continues to push boundaries, it’s hard not to wonder what groundbreaking move he’ll make next.
Widely regarded as one of the best producers in the game, CID has gained recognition from the likes of John Summit, Fisher, Dom Dolla, Diplo, and many more. The GRAMMY Award–winning DJ, producer, and owner of the Night Service Only label consistently delivers club-ready tracks that have solidified him as one of the highest-selling artists on Beatport. Inspired by DJs mixing at his dad’s Spanish restaurant, CID has been mixing since he was 11, and a few years later landed an internship at a professional studio. His dedication to the craft, paired with his ear for career-defining records, has helped CID to become a well-respected staple of the house music community.
With a career spanning nearly a decade, Anabel Englund has grown from being the voice behind iconic house supergroups Pleasure State and Hot Natured to cementing her status as a standout figure in the house music scene. After debuting her album Messing With Magic in 2020, her career has only accelerated, earning 12 No. 1 US Dance Airplay singles in just a few years and becoming the first woman to win iHeartMusic’s “Dance Artist of the Year” in 2023. Having collaborated with many heavyweights in the industry, including Disco Lines, Benny Benassi, Tchami, and more, she continues to push the boundaries of dance music, cultivating a sound that is both dynamic and eclectic while showcasing her talent as a multifaceted songwriter and lyricist.
