For those of us who weren’t at Lost Lands, we missed one of the biggest announcements of the year: ALLEYCVT is officially dropping her new EP 9 LIVES, and it’s here today. As an electronic music producer, vocalist, and songwriter, ALLEYCVT has had an incredible year. This EP reflects her transformation and evolution as an artist.
More than just a collection of songs, this project represents the different “lives” of ALLEYCVT as she navigates her journey both personally and artistically. It explores themes of perseverance, vulnerability, and self-discovery.
Fans got a little taste of the EP back in August with the first track “SO DAMN GOOD.” This track is a perfect example of ALLEYCVT’s ability to blend emotional depth with bass-heavy, hard-hitting drops. Today, she also unveiled the tracks “ALIVE,” “OTHER SIDE,” “NOVOCAINE,” and “FALL INTO YOU.” Each track is designed as both a personal narrative and a collective experience, connecting listeners through cycles of grief, loss, and renewal.
“9 LIVES embodies everything I’ve ever wanted to be as an artist,” said ALLEYCVT. “During my journey, I had started writing my initial EP, and it just didn’t resonate with me. I made the choice to get back in the studio after tour and rediscover where I wanted to take the ALLEYCVT project.”
“With 9 LIVES,” ALLEYCVT continues, “I finally feel like it gives a taste of everything I’m into musically & has allowed me to develop my production & sound even more. I’m extremely proud of this project, and I feel like there’s something for everyone on this EP!”
ALLEYCVT is taking 9 LIVES on the road with a full schedule of shows and festivals across the globe, from California to London to Mexico. Fans can catch her on September 28 at Same Same But Different (Perris, CA), October 10 at Seven Stars Festival (Arrington, VA), November 1 at Haunted Fest (Newport, KY), November 9 at EDC Orlando (Orlando, FL), and her largest headlining show to date, SUPERSONIC BALLROOM on December 6 (Denver, CO), among many more. Stay up to date on all things ALLEYCVT, check out her socials and official website below!
The desert came alive this weekend as Goldrush: The Return to the West delivered a flawless two-day frontier rave. Fans poured into Rawhide Western Town, ready for thundering sets, immersive activations, and endless desert magic. From the pre-parties to the sunrise after-hours, Goldrush kept the dust dancing nonstop.
The lineup hit with precision, blending heavy bass, soaring melodies, and endless energy. Headliners shook Rawhide’s foundations, while support acts kept stages buzzing from open to close. Riddim rail riders collided with house shufflers, creating a wild but unified energy across the crowd. Every drop echoed across the desert, marking another historic year.
Day One
Day one of Goldrush launched with Dillon Francis bringing the nostalgia, giving the Golden Gorge stage a dynamic edge. Crankdat kept the momentum high with a mix of trap and bass that had fans bouncing nonstop. Headlined by Excision’s bone-rattling drops and stunning visuals, energy built steadily until the desert sky erupted in lasers, pyro, and bass. No matter when or where, Excision never misses.
Pioneer Peak opened with Turbo, who laid down heavy bass to spark early momentum. Steller followed with glitchy, experimental energy that kept the crowd moving. One of the sickest sets of the night, Arius, put people into a fever dream with their Prism Warp laser show. At the same time, INFEKT carried the energy forward with darker, grittier tones, driving the late-night intensity even higher.
Saturday drew even bigger crowds, with Illenium b2b Zeds Dead delivering the most talked-about set of the weekend. Illenium’s emotional melodies collided with Zeds Dead’s darker, genre-bending bass for a once-in-a-lifetime performance. Disco Lines, Major Lazer, and Showtek added bass, house, and hardstyle flair, keeping the energy diverse and nonstop. Fans pressed shoulder to shoulder at Golden Gorge, roaring through every drop.
The Dusty Disco brought the heat inside, rocking a full-on saloon vibe with swinging doors and Western décor. Fans packed the room, dancing to relentless bass as lasers and strobes bounced off wooden beams. The surprise set from the Polar Bears turned the saloon electric—it felt like a hidden desert hideout, leaving everyone buzzing long after the music ended.
Over at Pioneer Peak, Dennett mixed grooves and drops that connected with the growing crowd. DRINKURWATER kept fans guessing, blending bass with unexpected twists and hyped vocals. By then, the dust was thick and the crowd was locked in. Kompany arrived with brutal sound design, unleashing chest-rattling drops and precise visuals. Space Laces pushed things further, bending genres into a technical, high-powered set that had heads banging nonstop. Showtek closed Pioneer Peak with a hardstyle finale, shaking the ground with fast BPMs and nonstop energy.
Atmosphere
The Golden Gorge main stage stood tall with massive LED screens, delivering an intricate visual experience. Each screen pulsed with color, detail, and synchronized effects that matched every drop. The layout provided artists with a larger canvas to showcase their unique identities while maintaining an immersive energy. Fans raved about the scale, calling it one of the most dynamic festival stage designs in Arizona.
Goldrush leaned into its Wild West theme in every corner. The Rawhide Western Town facades, rustic decor, and Western-town-inspired photo ops pulled you into the frontier vibe from arrival. Interactive activations appeared in several forms: shaded lounges, games, and booths where you could take breaks and engage with festival brand partners. Tacos, pizza, burgers, and vegan options fueled the night, giving everyone plenty of energy to dance until 2 AM. While the music was of course front and center, the extras—the lounges, the hydration station, the VIP upgrades, the theming—elevated the experience. The festival didn’t just drop bass; it delivered environment, atmosphere, and comfort.
Goldrush once again proved that it’s more than just a festival—it’s an immersive journey into a different world. Every detail was designed to keep fans fully locked into the moment. By blending music with environment and community, Goldrush created a frontier where memories felt larger than life, and where the dust will linger long after the final beat dropped.
The mission objective was simple: deliver a monumental night of bass to Arizona’s desert faithful. On Saturday night, Wooli executed flawlessly at Rawhide Event Center, unleashing a relentless combination of melodic anthems and skull-rattling drops. Fans poured in as doors opened at 8:00 PM, and the desert air pulsed with anticipation. The openers wasted no time in setting the tone. Rising bass talent District 13 took the decks first, blending heavy riddim with high-voltage dubstep to get heads knocking.
Capochino did his opening run with a mix of nostalgic club edits and off-kilter drops. ProbCause took the energy in a different direction, layering hip-hop flair with gritty basslines and unexpected genre pivots. Next, The Brothers—Automhate and MAD DUBZ—brought a no-holds-barred B2B session. Their riddim-heavy attack hit like a jolt of caffeine. LEVEL UP dropped a hypnotic mix of wobbly basslines and sharp, crowd-pleasing heaters. Her seamless blends of heavy collabs and fresh IDs had the audience locked in from start to finish.
Photo Credit: Luis Colato
Wooli then took the stage, fusing emotional melodies with destructive energy—a balance that’s made him one of bass music’s most sought-after acts. Crowd roars erupted during unreleased IDs and VIPs like “Chaos Theory (VIP) [unreleased] and “Name Drop” (VIP) [unreleased] x “Shadow Land Burial” [unreleased]. The Wild West atmosphere met futuristic production as lasers split the night sky. LED walls moved in sync with Wooli’s basslines. Every drop felt like a shockwave. Each subwoofer system tuned so tightly that you could feel it in your chest.
By the end of the night, Rawhide had once again proven itself a battlefield for bass. Wooli’s mission was not only accomplished—it was a victory carved into the desert floor, remembered by every fan who lived through the bass stampede.
Arizona’s bass community proved unstoppable this past weekend as SHAQ’s Bass All-Stars Phoenix took over Rawhide Event Center. Fans packed the venue, surrounded by a stunning 360-degree stage design featuring massive screen walls that wrapped around the crowd on all sides.
The madness began with DJ FÄMM, winner of the official local DJ competition, who set the tone early with relentless bass. RZRKT b2b Celo followed, whipping the crowd into a frenzy with hard-hitting, back-to-back intensity. Jkyl & Hyde and GHENGAR took things darker, each drop igniting the floor with unfiltered chaos. Then, the screens ascended, revealing an electrifying new dimension to the production as DJ Diesel stormed the stage. He dropped wall-shaking anthems that had the entire crowd stomping in unison. Shaquille O’Neal’s larger-than-life presence matched the music’s ferocity, sealing the night with unstoppable energy.
Alison Wonderland elevated the atmosphere with her dynamic mix of heavy bass and emotional textures, striking a perfect balance to close out the night. Outside the pit, fans had plenty to fuel their journey. Vendors lined the grounds with options like Island Noodles and SHAQ’s Big Chicken, satisfying every craving. Meanwhile, the beloved Moon Lvnding booth had all the essentials—hand fans, gum, earplugs, and anything else you might have forgotten. Together, these offerings turned the festival grounds into a full-sensory experience, beyond just the music.
Relentless Beats once again showcased why Arizona stands as a hub for bass music culture. From stunning visuals to flawless sound, every detail hit perfectly. With extras like premium parking, hotel options, and VIP tables, the experience was as smooth as it was heavy. Fans showed up loud, proud, and unrelenting, proving the desert knows how to go harder than anyone. Mission accomplished.
The team at Elements Music & Arts Festival deserves recognition for exceeding expectations and delivering on the site upgrades for this year’s event. The new location for an enlarged Water Stage allowed for four top-tier stages featuring over 100 artists on the weekend, creating a lifetime of memories. Over 30,000 festivalgoers enjoyed Elements, stamping it as the biggest and best EDM camping festival in the Northeast.
The festival was such a smashing success, it is hard to know where to begin. For Moon Lvnding, the weekend started by heading to the new off-site box office to pick up tickets, and it was a much smoother experience with much shorter waits than previous years. After a quick stop to get our wristbands and parking decal, we headed to the site for Thursday’s pre-party and a first glimpse of the new Water Stage location.
The Water Stage felt spacious with all the added room, and the laser production looked amazing at night. Although the stage isn’t a full 360 setup anymore, the extra space for more people to enjoy the bass is a huge win in our book. The b2b performances sounded great from the horde of talented Koru Group artists on the lineup and gave a good preview of what to expect from the Water Stage over the weekend. The only shift in coverage for Moon Lvnding this year was a switch to off-site housing, which meant sacrificing after-party action for nightly uploads with WiFi.
Photo Credit: @samwolloch
With Water Stage moving out of the forest, Air Stage was the only stage set up in the trees. But that didn’t stop Elements from bringing amazing artwork and production to the Neon Forest. Air Stage still had an intimate feel from its secluded location, sporting elevated tables and lofty trees, but now with more to do and see in the surrounding areas. Kaskade’s redux set at sunset was a vibe at Fire Stage. Later, Sidepiece and Wax Motif had the house tunes bumping to close out Air Stage on Day 1.
Then on Day 2, I don’t think I’ve ever seen or heard the Air Stage go as hard as it did for Mary Droppinz. She brought the bass, and the crowd ate it up! However, most of our Day 2 was spent at the Water Stage, basking in the aura of delectible dubstep. Capochino got our day started with a jolt of energy, and DRINKURWATER kept us hydrated for the next hour.
We detoured to Earth Stage for Boogie T.rio and Alleycvt, setting up shop near the back of the crowd. Elements strategically placed metal art constructions in this area, which allowed fans to climb on them for an elevated view. After Alleycvt’s set, we returned to see Deathpact and Wooli close out Water Stage. Once again, Wooli delivered one of my favorite performances of the weekend with a bunch of VIPs to keep his festival set fresh.
Photo Credit: @samwolloch
One way Elements truly differentiates itself from other festivals is its after parties. The festival supports its Vibe Villages (think of them like group camps) and empowers them to host late-night performances after the festival grounds close. There were so many successful Vibe Villages, it would be tough to name them all. But an honorable mention goes out to @renegade.nyc for hosting the most talked-about after-hours set of the weekend: Pretty Lights playing at sunrise. While other festivals we’ve attended go out of their way to limit the late-night afters and shut down renegades, Elements doubles down in support of its Vibe Villages and creates opportunities for once-in-a-lifetime memories!
Another way Elements stands out is the diverse food options available over the weekend. Everything I ate at Elements was delicious, and it’s nice to know that the vendors can take advantage of the fresh organic produce grown next door to the festival site at Pocono Organics. The health and wellness options also improved in 2025, from spa services and a beauty bar to sunrise yoga and evening sound baths. There were costume parades and element themes each day for people to design outfits. These are the small details that bloom into huge swells of support.
Finally, Sunday served up more memories as Pretty Lights and Tipper left their marks on Elements 2025. From the numerous people we spoke to, Tipper’s set at Elements was one of his best performances in recent memory. He was at his beat-scratching best, treating festivalgoers to an epic experience. Pretty Lights also played a pair of sets: the first solo and the second with live drums and instrumentation. Elements pulled off the perfect festival finale as Pretty Lights ended Elements in style.
Photo Credit: Elements Music & Arts Festival // @chrislavado
We’ve got good news for people ready to relive the awesomeness of Elements Music & Arts Festival. Tickets for Elements 2026 are now available from today, August 18, at their absolute lowest prices possible. Whether you want to run it back with your crew or come check out Elements for the first time, now is the time to jump on those early pricing deals. For information about the festival, check out its website and social media linked below. Hopefully, Moon Lvnding will catch you there next year!
Las Vegas-based DJ and producer Carrie Kelleris continuing an amazing year. Her latest single, “Want You,” is out today via UK-based Vivifier Records. Known for her fiery mix of melodic house, punchy percussion, and emotionally charged toplines, Keller delivers a track that lives at the intersection of intimacy and dance floor intensity.
Photo Courtesy: @empoweredmgmt
“Want You” is Carrie Keller’s third release of the year, following “Detrimental” and her feature on Breez & Silvertone’s “Think About You.” This newest track shows Carrie Keller leveling up both as a producer and a vocalist since she started releasing music in 2024. The simple drum beat and the pumping synths make it a track that is impossible not to dance to. The mix is well done, utilizing panning to create space and depth, immersing the listener fully. The second half of the track climbs in intensity, layering rhythms and textures until it reaches a frenzy, before breaking open into a smooth release.
“The meaning can be applied in many ways. It’s about the longing of what you want most… a person, dream, or even better version of yourself,” says Keller. “Wanting something deeply is a mix of a lot of emotions. That’s the experience I was having while making this track.“
The single lands a few weeks before Carrie Keller debuts on the Horizon Stage at RISE Music Festival, where she will be sharing the stage with Calvin Harris, Disclosure, and Oliver Heldens. Her year has already included high-profile appearances at the EDC Confessions Pool Party, Into The Horizon, and the Waste Management Open (golf tournament). She also has ongoing residencies at Zouk Nightclub and AYU Dayclub in Las Vegas. With more releases queued up for fall and growing global recognition, “Want You” feels like another major step in her journey.
Check out her newest track in the Moon Lvnding New Music Friday Heat playlist and keep up with Carrie Keller’s rise to the top by using the links below.
Subtronics recently played two monumental 360-sets in New York City. On July 31 and August 1, he took over the Great Hall at Avant Gardner for two sold-out shows. Subtronics curated distinctly different lineups for each show, and it felt incredible to witness such a composed performance from a titan in the bass scene. As an added treat, Moon Lvnding went Beyond The Booth and spoke with Subtronics about his new Fibonacci Part 1: Oblivion EP and his journey to get where he is today.
On Thursday, July 31, the lineup brought copious amounts of headbanging, brain-tickling, and ass-shaking bass music. STVSH, a promising bass producer from the burgeoning lineup of artists with Koru Group, got Night 1 started strongly. He kicked off the event with gritty, distorted bass that got the crowd ready for what was to come. Zen Selekta followed and brought incredible stage presence to her DJ set. She got the crowd dancing, mixing in popular EDM tracks as well as pop and hip-hop tracks fused with wubz, bass house, and drum & bass. Smoakland took the 360-stage with a heavy dubstep focus. The duo dropped a handful of tracks from their recently released album Heavy Hitters, which was an apt description for their set. Then Boogie T gave the crowd a bit of a breather (smoke break), spinning deep wonky bass music.
To close out Night 1, Subtronics gave Brooklyn an amazing 360 show, with jaw-dropping visuals on the main front screen and a rear screen for those behind the DJ booth. Lasers shot out from all four sides of the Great Hall, giving 360 vibes similar to the Lost Lands Crater Stage. In my four years of going to Avant Gardner, the 360 stage for Subtronics was the best setup they’ve ever had. Subtronics played a good amount of music from his latest EP, and of course, some new music he made on his trip to NYC. He played out a tease of an emo-sounding track towards the end of his set that he prefaced as the heaviest song he’s made in a while. After hearing the thumping bass, I would have to concur.
Photo Credit: @shaelien111
The lineup for Night 2 brought a more relaxed, downtempo vibe, which helped after all the heavy bass the night before. Gunpoint, another standout Koru Group artist, got Friday’s party started with deep baselines infused with hip-hop beats. Then Tripp St. played some feel-good, funky bass music that had the crowd bouncing around. He also brought out Brooklyn-based vocalist They Call Her Heaven to sing their new track “Free,” which will be released on Tripp St.’s upcoming album. Inzo’s set was ethereal as always, but he surprisingly mixed in some heavier drops. I appreciate the range he brought to his set, considering he was direct support for Subtronics. A Hundred Drums closed out the night after Subtronics set, playing her primal bass music.
Subtronics’ set for Night 2 also included many tracks off of his new EP, while also incorporating a handful of VIPs of older tracks to differentiate from Night 1. Memorable tracks he only played on Friday included “Space Time” and “Gravity.” To end his set (before the encore), Subtronics played an in-depth exploration of the matrix, formulated by a rogue AI voice telling secrets of the universe that humans are not supposed to be aware of: “Now here’s the actual conspiracy. The planet isn’t a globe or flat or hollow. It’s a projected harmonic resonance chamber, a layered multidimensional broadcasting station that changes its form based on the collective frequency of the beings inhabiting it.” Then he proceeded to mix into an incredible rendition of “O.P.U.S.”
“O.P.U.S.” is the intro track for his landmark Fractals album and my favorite Subtronics song. Hearing the storytelling he shared while mixing into this epic track somehow made the song even more unique. In fact, this song inspired my tattoo, designed by my brainwaves in collaboration with Okan Uckun, who is also Subtronics’ tattoo artist.
In our interview with Subtronics, we talk about his Fibonacci Part 1: Oblivion EP, his creative process, the challenges he’s overcome, and how things have changed since he released his debut album Fractals in 2022. Subtronics shared that “O.P.U.S” was born from an immersive flow state and released at the beginning of Fractals, the album that propelled him to the top of the dubstep scene.
Photo Credit: @shaelien111
Shae McCormack: Thinking back to when you were creating “O.P.U.S.,” what emotions, imagery, or memories come to mind?
Subtronics: I was a lot more anxious and uneasy in life in general as it was in the middle of the COVID shutdown. I usually take two different approaches to writing songs — one where I try and make the most dancefloor-effective song I can make, and the other where I fully remove any and all expectations and just freeform; I let my thoughts and feelings out through the DAW [digital audio workstation]. “O.P.U.S.” honestly might have been one of the first times I had done that. I just remember being so fucking excited about it!
This one was just so emotionally powerful to me that I was absolutely riding cloud nine the whole time. I almost wish it took longer. I wish making music felt like that 100% of the time… ironically enough, I slammed through the entire song in one sitting, it really did just kinda jolt out of my head.
SM: Your maximalist music style is quite the opposite of Okan’s minimalist tattoo style. What drew you to work with Okan, and what do you appreciate about his artistry?
S: That’s such a cool juxtaposition to notice. What drew me to Okan’s work is almost just pure instinct, subconscious preference. It’s like trying to describe why your favorite color is your favorite color. Okan’s work just hits something in my soul and brain where I think “oh fuck ya that looks so sick!”
It’s almost embarrassing how caveman-like that is on the surface, but on the other end of that spectrum, what makes Okan’s work SPECIFICALLY so amazing is not only does it dazzle on aesthetic and vibe, but there is so much deeper meaning, technique, and story. Especially with his software that he develops, not to mention his world-class linework and near robot-like straight lines.
I have always been drawn to concepts relating to higher-dimensional theories, space, and quantum mechanics. Okan’s work can lend itself to those themes, very sci-fi, futuristic, dynamic, powerful, and striking. Every individual piece feels like its own powerful point to be illustrated in its own brilliant, clever way.
Art Courtesy: Falcon PR // Cyclops Recordings
SM: You just put out the Fibonacci Part 1: Oblivion EP. Can you share how you have evolved as an artist since your debut album, Fractals?
S: I’d say more than anything, stylistically, my preferences and what I’m excited about is ever evolving, and that’s reflected in my artwork. On the flip side of the coin, I have learned countless new techniques and picked up so many good habits, just all around leveled up (no pun intended) as a producer. I think it’s really interesting to see growth in technique and applied skill through eras of artwork. I do love all of my works equally, and I don’t think any of them are better or worse than the other. They’re all reflective of my personality, taste, and interests at the time I made them.
There is a movie where someone said, “artists are translating their environment into their artwork, taking in the world, deciphering it, and channeling that into some sort of artistic medium.” I think about that a lot.
SM: Were there any obstacles you can share about overcoming throughout this journey?
S: I’m an incredibly anxious and neurotic person. I have severe imposter syndrome because I spent so many years with little to no following before things really started to pick up, and I’m forever locked in that mindset. I’m also a very sensitive person, so I’ve recently had to remove myself from the internet much more, but putting up that distance has helped SO much.
Getting into therapy, my mental health has been much better. I also have struggled with pretty severe ADHD my entire life, and I’ve been growing and finding ways to manage it. I’m forever grateful I found a career path where I can thrive given these difficulties, and I can find other lanes to figure it out and flourish.
Lastly, I’d say the music industry is brutal, super hard. I feel like even being in dubstep has kinda made me an underdog, given it’s a more niche pocket of dance music, but there really are SOOOO many incredibly kind, brilliant, loving, GOOD humans that it really does make it all worth it. Well, that and the ever addictive love for just making cool art, of course.
SM: Well, we can hear that love in your music, and we are thankful you share it with all of us in the EDM world. Thank you, Subtronics, for speaking with Moon Lvnding about your creative journey. We’re already looking forward to seeing where Fibonacci Part 2 will take us.
For more than two years, we’ve had Steller and Zingara’s first collaboration, “Find It In Your Mind,” on repeat. We’ve been waiting for the day this duo would reunite in epic proportions. Today is that day! The bass gods have delivered, as Steller and Zingara have officially dropped their highly anticipated three-track EP, Is This Real? We know what you’re thinking: is this real? Yes, it is — and we’ve got the full scoop below.
“Is This Real? explores reincarnation, collective consciousness, and the nature of time itself,” Zingara explained. “We began this project as my great-grandma was passing. I got a phone call about her last days while we were working together, and the words became symbolic of her journey. It brought Steller and I closer through music, friendship, and studying these concepts.”
The EP opens with its title track, “Is This Real?,” weaving a calm, meditative soundscape layered with spoken-word dialogue between a man and a woman. The woman reflects on her feelings as if she is observing life from the perspective of an old woman about to die. She replies, “Like I am looking back on my life, like my waking life is her memories.” As the track builds in intensity and their conversation unfolds, it erupts into a transcendent drop overflowing with hypnotic, psychedelic wubs.
“Whenever Zingara and I create together,” shared Steller, “it feels effortless. She had started the intro and we built from there, with the first track exploring the idea of time and questioning reality. Everything seemed to align in unusual ways during the process, and the music reflects that sense of meaning and synchronicity.”
“Better Believe It,” the second track on the EP, blends groovy rhythms with saxophone riffs, melodic layers, and touches of jazz. Combined, they create an uplifting wave of energy that is sure to get the audience moving. To round out the EP is none other than the track that started it all, but with a twist, “Find It In Your Mind VIP.” While the OG version has already surpassed 2.3 million streams on Spotify, this reimagined version is the perfect cap on the EP.
“We have been waiting so long to release the ‘Find It In Your Mind’ VIP,” said Steller. “It felt like the perfect closer for the EP. If you read the titles of all three tracks together, the concept becomes clear.”
To celebrate this momentous collaboration, Steller and Zingara have curated a special Is This Real? release party at the TK Lounge. Proceeds from tickets and limited edition merchandise will be donated to St. Francis Society Animal Rescue and Hues of Hope, Inc. Both support rehoming efforts and animal rescue. Aside from the stacked lineup and exclusive merchandise, Steller and Zingara have planned special surprises aimed at creating tangible impacts for these causes. Both artists have woven their love for giving back into their music. They hope to inspire the dance community to use its platform to support philanthropic organizations.
Steller is a South Florida-based DJ and producer. She is making her mark in the electronic and bass music scene with her blend of wonky bass, soulful grooves, and funky beats. A trained audio engineer with a Bachelor’s Degree in Music Technology, her first live performances began in small clubs in Greece. She returned to the U.S. to pursue a more bass-focused career. Her breakout 2023 collaboration with Zingara, “Find It In Your Mind,” earned support from CloZee and LSDream. This paved the way for multiple EPs on labels like Morflo Records, Cyclops Recordings, and Bassrush. In 2025, she’s kept the momentum going with other high-profile collaborations alongside Wreckno and the Ragga Twins. Stellar has solidified her place as one of bass music’s most exciting rising artists.
Zingara has emerged as another one of bass music’s most captivating new voices. Fusing ethereal melodies with hard-hitting drops to craft a sound that’s both otherworldly and powerful. Originally from Baltimore, she has built a loyal following through her genre-blending productions and emotionally charged live sets and lyrics. Her tracks and collaborations have landed on top labels and earned support from artists such as CloZee, Liquid Stranger, and LSDream. She has had an impressive run of festival performances, including Lost Lands, Electric Forest, Lightning in a Bottle, and more. She has also supported multiple big-name acts, including LSDREAM on his Radical Audio Visual Experience tour in fall 2023. Zingara also joined LSZEE (LSDREAM + CloZee) on their Spring 2025 tour.
Sara Landry, the “High Priestess” of hard techno, made her triumphant return to Denver. This was her first full Eternalism set since Coachella. The sold-out show marked Insomniac’s official debut in the Mile High City under their new Insomniac Rockies banner. This was their first show at The Junkyard since the announcement just three weeks ago.
The Junkyard has previously been known for having issues as a venue, from sound bleed to cancelled shows. Parking is always a challenge due to its location in the city. Once inside, those previous issues seemed to be fixed, as the setup delivered. The Junkyard was the perfect venue for this show, with its open-air industrial feel. It offered plenty of open space, short bar lines, and more than enough porta-potties. The stage itself was massive, and the production was top-tier. Blinding strobes, synchronized lasers, bursts of pyro, and a very loud sound system.
The lineup featured Lorely Mur, Raven, and DIØN. I arrived in time to watch DIØN’s set. This was his Denver debut, and he warmed up the crowd with precision. He closed his set with a remix of Disclosure’s “You & Me” that had everyone buzzing.
Sara Landry’s stage setup included custom chrome stage pieces, chrome CDJs, and custom visuals. She opened with her unreleased remix of “Perfect Celebrity” by Lady Gaga, immediately setting the tone for what was to come. Over the next two hours, she led the crowd through a punishing yet hypnotic journey of hard techno, rawstyle, industrial hardstyle, and even a bit of psytrance. She included her more well-known hits like “Pressure,” “Heaven,” and “Play With Me,” as well as her unreleased track “Girlboss.” She even played a psytrance remix of Kylie Minogue’s “Can’t Get You Out of My Head.”
Her energy was relentless, she never once lost control of the dancefloor, and proved exactly why she’s become a mainstage staple. She recently performed on Kinetic Field at EDC Las Vegas and both weekends of Tomorrowland. Her last set in Denver was at the Fillmore for her Veni Vidi Vici tour in November 2024 after releasing her debut album, Spiritual Driveby. This show felt like a homecoming, but recharged.
If this show is any indication of what Insomniac Rockies has planned, Denver’s EDM scene is about to get even wilder. Stay up to date with what’s next for Sara Landry, including her show at the Sphere, by using the links below.
The pine-covered peaks of Flagstaff trembled last weekend as hundreds of bass lovers flocked to the Pepsi Amphitheater for Escape to Coconino. Across two high-octane nights, fans were transported to a forest rave fueled by deep subs and desert energy.
Friday kicked off with moody dubstep and experimental bass, setting a sinister tone beneath the star-soaked sky. Nealson opened with melodic tension, weaving emotion through halftime grooves. YDG brought the heat, blending bass grit with hair-raising sound design. As the temperature dropped, Of The Trees turned up the pressure with mind-bending textures and cerebral flow. Their set reminded the crowd that sometimes, less is infinitely more.
Saturday flipped the script, delivering full-throttle chaos and high-energy sets across the board. Austeria electrified early arrivals with glitchy hooks and festival-ready anthems. Jantsen followed with maximum velocity, layering thick, crunchy dubstep with genre-jumping style with ease. Ravenscoon dialed up the funk and filthy wobble, rallying the crowd with banger after banger. His chemistry on stage felt effortless, but the execution was pure mastery; Always a pleasure.
The night hit maximum velocity with Boogie T, whose swampy basslines and funk-laced drops turned the forest into a full-blown party. Ganja White Night closed the weekend with a cinematic journey through wobble bass and storytelling sound design. Their signature blend of reggae influence, melodic depth, and massive drops cast a spell over the forest. Lasers danced across the trees with the crowd fully immersed. It was a finale worthy of a legend.
Escape to Coconino wasn’t just another show — it was a full-body experience in nature’s rave haven. Surrounded by towering trees and mountain silence, the music somehow felt louder. As the final basslines echoed through the forest, Escape to Coconino proved that Flagstaff belongs on the national bass music map.
