After first gaining traction through his SoundCloud flips, Effin has continued refining his artistry, leaning further into the vintage and retro influences that have become central to his music. Now based in Nashville, he is finding new inspiration in the city’s rich musical history while bringing elements of the past into the world of contemporary bass music.

Liana: Your project has evolved significantly since your early SoundCloud flip days. How would you describe your identity as an artist today?

Effin: It’s been a long project in the making, especially if you were here from the early days and the SoundCloud flip days. I feel like I’ve really kind of found my sound, as cheesy as that is. I’ve figured out this lane that I really enjoy.

I always used to tease little bits of vintage and retro elements in some of the older songs I’d worked on, but especially in the past few years, I kind of wear my heart on my sleeve, and it’s all out there. It’s about finding songs that I love and repurposing them into 2026, or whatever you want to call it, and taking my favorite inspirations, riffs, little melodies, and vocals and bringing them 60 or sometimes 70 years into the future and giving them a new life. That’s where I feel like the project exists right now.

Liana: Sampling and reimagining older music have become such an important part of your sound. What usually catches your ear when you’re searching for inspiration?

Effin: A lot of times I’ll be at the gym and I’ll put on an ’80s playlist or ’90s New York hip-hop and hear something and think, “That vocal is insane.” Then I’ll go home and start picking that apart.

It can also come from going down a Spotify or YouTube rabbit hole. Honestly, anywhere I can find inspiration. Sometimes it’s just finding one single sound, and that ends up starting the track.

I usually start from bar one at the intro and build out the world of the song. I love the idea of world-building. You usually see that in my songs with just one or two words, honestly. I pull from a lot of different eras and a lot of different worlds and try to make all of those themes fit into one three-and-a-half-minute song.

Liana: You recently moved to Nashville. Has being surrounded by such a historically rich music city influenced your artistry?

Effin: Nashville is amazing. It has such a rich history—not just with country music, but pop music and especially background vocal work.

A lot of the newer stuff I’m working on draws from ’50s and ’60s country artists who worked in Nashville, including people who may have been background singers and then had their own covers or smaller projects. One of the new songs I’m working on has a vocal replay from the Anita Kerr Singers, who were a Nashville pop harmony background chorus group. It’s cool to use something from 70 years ago and repurpose it now. It almost feels like a full-circle moment.

Liana: Your sets feel incredibly intentional and often include references that are specific to where you’re playing. What does your creative process look like when building a set?

Effin: The first thing I try to do, especially if it’s a themed set or a specific moment, is really dive into that theme.

For sunrise at Bonnaroo, I had half of the set be about the actual sun. I started with “Here Comes the Sun” by The Beatles and did a fun flip of that. Tonight in New York, I was thinking, “Okay, I’ve got to throw in an Action Bronson vocal. I’ve got to throw in some Wu-Tang vocals.” You sometimes hear those influences in my songs. I had to throw in some Beastie Boys, of course.

I love finding little moments that I feel like the crowd will pick up on and think, “That’s so unique to this moment.” On top of playing the songs that people know me for, I sprinkle in edits and new music that I’m working on. My music is kind of a collage, and I want my sets to feel like a collage too. Full of all these fun little moments curated toward whatever city or event I’m playing.

Liana: Looking at the bass music landscape right now, what are you most excited about? Are there any directions you feel the genre is moving toward?

Effin: Bass music is in a crazy place right now, as it probably will continue to be forever. I feel like it’s a constant pendulum swinging back and forth between really heavy and then really vibey, and then going back into more production-focused styles.

I also think people want to see more songwriting, more themes, and more curated sets where their artistry is on display, and not just a bunch of mashups. 

Liana: You’ve had an incredibly busy year between playing festivals, touring, and working on new music. How do you protect your creativity and find a balance between everything?

Effin: This year has been a lot, but I’ve been so lucky. I think I’ve played something like 25 festivals, on top of tour runs and my own shows, while also working on some of my biggest projects. 

It’s a constant battle because just when you think you’re getting into the swing of things, suddenly it’s, “We need to work on the set for this weekend,” and then I have to leave for the next three days. It’s hard to get the balance perfect.

I try to keep a balance where the show days are just for the shows, and the music days at home are just for the music. I write when I’m at home, play-test those songs on the weekends, and then go back and revise them.

Liana: You’ve already had the opportunity to play some major stages this year. Is there a dream venue or festival that remains at the top of your list?

Effin: A dream venue for me has got to be Red Rocks. I got to play it for the first time this year as support, and that was the one where I told my parents and they were like, “Oh, this is real.”

I think everyone over the age of 50 has this idea of EDM where it’s like, “Oh, you’re going into a dark room and playing for a bunch of hippies.” But Red Rocks was the one where my parents told all their friends and brought their friends out. That’s the one where they were like, “Wow, he’s the real deal.” 

It’s always been such a legendary venue in the scene, and it would be an honor to hopefully headline it one day.

As he balances a packed touring schedule, Effin remains focused on the details that make his music and live sets feel personal, from decades-old vocals brought into the present to city-specific references woven into his sets. Together, these elements form a world that feels distinctly his own.

Effin’s approach to his career follows a similar philosophy. His sound continues to evolve, without losing sight of the influences that got him here.

The post Effin on Sampling the Past and Creating a World Through Sound appeared first on Dancing Astronaut.

In conversation with Dancing Astronaut, Loco Dice reflected on what first drew him to electronic music, the energy that continues to fuel his connection to the dance floor, and why discovering the next generation of artists remains essential to his creative world.

Liana Stern: You talk about your hip-hop era and working with artists like Ice Cube, Usher, and Snoop Dogg. What ultimately led you into house and techno, and what did you take with you from the hip-hop world?

Loco Dice: There came a point where hip-hop wasn’t giving me the feeling of exploring new sounds and going in new directions anymore. After Biggie and Pac passed away, the music started becoming more about recycling older records, and that wasn’t really my vibe.

At the same time, I started exploring electronic music through friends and parties, and I realized how much you could create as a producer and DJ. You can touch people’s feelings, tell a story, and you’re not limited to a certain number of records or a specific formula.

It was a slow process that brought me from hip-hop into electronic music. But don’t get me wrong, I’m still hip-hop. You don’t grow up with a culture and then just leave it.

LS: After spending years playing clubs around the world, what has kept you connected to the dance floor, especially as nightlife continues to change?

LD: Before the music, I think it’s the energy. I’m a DJ. That’s why you don’t really find radio sets or things like that from me. I’m not someone who can just sit in a room and play music for myself. 

I moved into electronic music because of the energy and because of the dance floor. Playing something and receiving a reaction gives me inspiration for what could come next. Then I go home with that energy and bring it back into my music. That’s what still keeps me going.

LS: Your life between different cultures has always been a part of your identity. How has that shaped your approach to music?

LD: I grew up with Tunisian folk music, which is very drum-driven, and I think you can still hear that in my sound today. When you hear my sets, they always reflect my life and my musical journey.

There are also usually hip-hop beats and drums, but I also grew up very open-minded musically. My mom used to play Julio Iglesias, and with my family, I grew up listening to Stevie Wonder, Bob Marley, and Michael Jackson. All of those influences are inside me, and I think they reflect who I am now.

LS: Do you notice a difference between younger audiences today and when you first started?

LD: It’s always a new challenge, and I love that. People always say things are different now, but I’ve been through a lot of generations, and there’s always a different way of approaching a younger generation.

Obviously, now you don’t have record stores or magazines in the same way, but with the internet, you can get information faster and go incredibly deep. You could do a 24-hour Detroit crash course and understand the culture and the vibe seamlessly. 

For me, it’s always about how the DJ approaches the dance floor. I’ve always loved the new generation because that was my competition. I’m always exploring new things, and you can see that in my lineups and on my label. I love having young, upcoming, and unknown artists involved.

LS: How do you discover the emerging artists you want to support?

LD: Honestly, it’s everywhere and nowhere. Back in the day, somebody would give you a demo or send you an email. Now there are a million channels, and it’s hard to keep up. The truth is, it’s like a lottery.

Sometimes I’ll find a WhatsApp message from a young artist I met six months ago and ask if the track is still available. Sometimes my artists ask why I discovered something so late, but music is timeless. It can sit there for a while.

LS: Touring can be physically and mentally demanding. How do you maintain your energy?

LD: Staying healthy is a big part of it. I do a lot of sports, and I have my routine. Without that routine, I think I would crumble. I also do martial arts like Muay Thai. Mainly, it gives me peace and quiet. Even though training can be stressful and intense, it’s a completely different world. When I’m there, I’m another person. I’m not Loco Dice. I’m not Dice. Nobody cares who I am or what I do.

The culture is peaceful and beautiful, and the people there have nothing to do with nightlife. The conversations are different. Everything is different. It’s like having another persona, and you need that away from music.

LS: Your creative world extends beyond music into spaces like fashion. What draws you to those other forms of creativity?

LD: Everybody knows I have that name for a reason because I can’t stand still. I’m always trying to explore new things. I made my hobby my job, and it’s also how I make my living. But I’ve never been someone who follows trends or jumps on a bandwagon. If something interests me, I explore it and try it.

I love different worlds of creativity, and I love being around creative people and talking about ideas or creating things together. That’s where my love for fashion comes from.

LS: How is your sound evolving, and what does your creative process look like?

LD: It’s always based on how I feel. I’ve never followed trends. If somebody tells me, “This is the kind of music we’re playing now,” I’m probably the first person asking where the exit is. Maybe I would have been more successful if I followed the right path, but I’ve always gone the other way. Sometimes I was ahead of my time with my music, and sometimes I just took a completely different path. But that’s who I am.

The people who connect with the Loco Dice sound and movement are down with that. They don’t want to hear the same thing that five other DJs have already played.

A lot of the music I’m playing comes from young artists nobody knows yet. Sometimes it isn’t even released, so I can’t put it on a chart. And my own productions work the same way. It’s never about saying, “We have to make this.” It’s always about what I’m feeling in the moment.

For Loco Dice, longevity has never come from chasing whatever is next. Instead, his career has been shaped by an openness to music, culture, people, and new experiences.

Whether he’s searching through messages for an unknown producer or stepping into a Muay Thai gym where nobody knows him as Loco Dice, that curiosity continues to push him forward. And decades into his career, his approach remains remarkably simple: follow what feels right, take the unexpected path, and never stand still.

Listen to his new single, “Eyes On Me,” out now.

The post Loco Dice on Music, Movement, and His Creative Evolution appeared first on Dancing Astronaut.

The location does a lot of the work here. Nora En Pure has built an entire catalog around the outdoors, from “Lake Arrowhead” to “Conquer Yosemite,” and her Purified shows have always leaned on natural settings rather than dark rooms. Lake Union Park sits at the south end of the lake with the water on one side and the Seattle skyline behind it, and On The Hiyu has spent the past few years turning that stretch of shoreline into one of the best places in the city to hear this kind of music. A 2:00 p.m. start means the whole thing plays out in daylight and finishes as the sun drops, which is exactly the window her music was built for.

Purified Records is the thread running through the lineup, and the show is a proper label showcase rather than a name-brand headliner with local support. Nora curates it that way on purpose, pulling artists straight from the imprint and from the rotation of her radio show.

Yotto is the biggest name alongside her. The Finnish producer came up through Anjunadeep and now runs his own Odd One Out label, and his sound has never sat still, moving between deep house, melodic techno, and something heavier depending on the night. He and Eli & Fur have collaborated before on “Somebody To Love,” so there is history on this bill.

Eli & Fur bring the London side of things. Eliza Noble and Jennifer Skillman have been at this since 2013, first as pop songwriters and then as one of the most recognizable duos in melodic house, with two albums behind them in Found in the Wild and Dreamscapes. Their vocals are their signature, and it is a sound that pairs well with a lake and a sunset.

Jack Emery has become a mainstay of the label. The San Diego producer debuted on Purified in 2023 with “Believe” and has kept coming back, dropping the Fickle Heart, Halo, and Everlast EPs since. He is classically trained, and it shows in the way his records are arranged, with orchestral ideas built into the melodic house framework. Nora has been playing him out at Ultra Europe, ADE, and the DJ Mag Top 100 Awards for a few years now.

Glusko rounds out the bill. The Los Angeles producer made his label debut in early 2025 with the Lovers EP and returned this May with “Broken Dreams” and “Worlds Collide,” both built on the melodic techno and progressive house end of the Purified sound. He is the one to catch early if you want to hear where the label is heading.

We Are Giving Away VIP Tickets And Hotel Rooms

We are sending a few of you to this one. Dancing Astronaut is giving away four VIP tickets to Purified Seattle along with two hotel rooms within walking distance of Lake Union Park, so you can roll out of bed, walk to the show, and not think about a single logistic all day.

Head to the Dancing Astronaut Instagram to enter. Everything you need to know is in the giveaway post.

If you have seen a Purified show before, you know the format. If you have not, this is a good one to start with, an entire label on one stage in one of the better outdoor settings any of these artists will play this year.

Nora En Pure presents Purified Seattle takes place Saturday, September 5 at Lake Union Park, 860 Terry Avenue North. 2:00 p.m. to 9:00 p.m., 21+. Presented by ViViD Presents and On The Hiyu. Tickets are available here.

The post Nora En Pure Brings Purified To Seattle For A Day At Lake Union Park, And We’re Giving Away A Full VIP Experience For It appeared first on Dancing Astronaut.

Rewind to July 2024. Her first single, no catalog, no crowd. Fast-forward to now and she’s past 25 million Spotify streams with over 5 million on “Here Again” alone, another 5 across the Rushing In EP. Somewhere in there, Martin Garrix, Armin van Buuren, Nora En Pure, Above & Beyond, Tritonal and Sultan + Shepard all started pulling her records into sets and she turned up on stages with Lane 8, Kaskade, Tiësto and Christian Löffler — Dreamstate, We Belong Here Miami, Elsewhere New York, ADE. That’s one hell of a first lap.

Which makes 22, out today on Colorize, her first big swing. And her first home run. No bullshit. “drops of oil” kicks things off and sets the tone for the next ten tracks that make this debut undeniable. Then there’s the guest list; MØØNE, Mees Salomé, sandpiper, OCULA, Richard Walters, FARLEY, Afnan Prince, Hessian and LeyeT all adding their touches to her vision. A chunk of it she handled alone. And for the first time on anything she’s released, that’s her own voice on the track. And it definitely belongs on more.

The title came from the number. It kept showing up while she was writing, and she decided to take the hint. What started as an album about unity, love and connection turned into a year of arguing with herself about whether she’d earned any of it. Her words: “I spent so much of the album feeling like I needed to become more in order to deserve my place as an artist. The real lesson was realizing I didn’t.”

She hadn’t needed to. The evidence is now eleven tracks long. We knew we were right when we made her one of our 2026 Artists to Watch.

Her Joshua Tree DJ set went up on YouTube the day before release, with London, Vancouver, LA, New York, Seattle and Toronto dates through 2026.

The post mölly trusted the timing and her debut album ’22’ is the payoff appeared first on Dancing Astronaut.

The club has been closed for what Wynn is calling a complete reimagining. This is the first top to bottom overhaul they’ve done since it opened on New Year’s Eve 2008. Since XS has been rebuilding, programming has shifted outdoors to Encore Beach Club at Night. During that time construction has been running through the main room in preparation for this moment. Wynn has stayed quiet on specifics beyond promising refreshed interiors and new production technology, but the lineup celebrating the reopening tells you how big it’ll be. Four nights with four of the biggest names in electronic music.

The club is no stranger to being at the top of Vegas’s dance music scene, it’s been a defining piece of Las Vegas nightlife since it opened, and that legacy has been taken into account for the redesign. “XS has always represented the intersection of exceptional entertainment, design, and hospitality, and this new era is an opportunity to build upon that legacy,” said Adam Norotsky, VP of Wynn Nightlife. “As we look toward reopening weekend, our goal is to create the next evolution of XS while preserving the energy and experience that have made it such an iconic nightlife destination.”

The unveiling of the redesign this November is going to be a special moment and there’s no better lineup they could bring in to mark the occasion. The artists on each of the four nights all but guarantee unforgettable experiences, and it might be your best chance to see RÜFÜS DU SOL after they’ve finished their current tour. 

Thursday, November 5: RÜFÜS DU SOL [DJ Set]

Opening night is the one to circle, and not only because it is the first night back.

RÜFÜS DU SOL are wrapping the biggest touring run of their career and they have told fans it will be the last one for a while. During their show at the Kia Forum a few weeks ago, Tyrone Lindqvist said the trio would not be back on the road for a solid amount of time, not until they have new music to share. That statement comes after an extensive stretch that included four consecutive sold out nights at Madison Square Garden (the most an electronic act has ever played at the venue), a headline set at Wrigley Field, two nights at The Gorge, Bonnaroo, and a closing night headline slot at Outside Lands in Golden Gate Park. The North American run finishes in September with Austin City Limits in October, then it seems they will go quiet and head back to the studio.

Which makes November 5 an unexpected and very good opportunity to catch them in person. This is a DJ set, not the full live show with James Hunt behind the kit and the production rig that has been traveling North America for the last couple months. But that is part of what makes it worth showing up for. At XS you can expect the trio to dig into their IDs, pulling out remixes of their tracks you can rarely find anywhere else. After playing at the Rose Bowl, Wrigley and Madison Square Garden, seeing them in a 40,000 square foot club is about as close as you can get. If the hiatus lasts as long as the group has suggested, their appearances are going to be few and far in between. This may be one of your best chances to see them after October. 

Friday, November 6: The Chainsmokers

Few people have more history at XS than the legendary Chainsmokers. Alex Pall and Drew Taggart have been Wynn Nightlife residents for years. This year, they marked the tenth anniversary of Collage, the EP that carried “Closer” to number one and turned them from a remix duo into one of the biggest acts in pop. Since that album, they have spent the time since pulling back toward the dance floor. Breathe leaned into a sound bringing back the duo’s early records. The Love Is Kind EP with Oaks followed. For a duo that spent a stretch chasing radio, the recent material has been aimed squarely at rooms like this one.

“We’ve had some of our favorite nights at XS over the years, and Wynn has been such an important part of our journey,” the duo said. “There’s a lot of history between us, and we’ve seen XS evolve firsthand. It’s exciting to be part of this next chapter and to see a place that’s been such an important part of our story enter a new era.”

Saturday, November 7: Calvin Harris

Harris is a major part of why XS is as big as it is. His first Las Vegas residency started with Wynn Nightlife in 2011, and the template that came out of that partnership is the one every club in the city still runs on. He spent 2024 at Fontainebleau, played only a handful of US dates in 2025, and then signed an exclusive two year deal that brought him back to Wynn starting this past January. For 2026 and 2027, XS and Encore Beach Club are the only places in Las Vegas you can see him.

Saturday is the peak night of the weekend and he is the correct booking for it. A Calvin Harris set is a run through fifteen years of records that everyone in the room already knows, “We Found Love” into “Feel So Close” into “One Kiss,” played at full volume in a club that was built for exactly this. His most recent single, “Blessings” with Clementine Douglas, spent months on the Hot Dance/Electronic Songs chart. After seeing him at Tomorrowland a month ago, I can confirm you will not be disappointed. 

When asked about his gig on November 7th, Harris looked back on his past with the club and what the future holds. He said, “I’ve played some incredible nights at XS, and it’s always been one of my favorite places to play in Las Vegas.” When it comes to the future, he said, “I’m excited to come back for the reopening and be part of what Wynn is doing with the next chapter of the club.”

Sunday, November 8: Diplo B2B Hugel

Sunday closes the weekend with a pairing that should keep the room moving until the lights come up. Diplo has played XS more than almost anyone alive, and he said as much in the announcement, calling it probably the place he has played the most times ever. Hugel brings the Latin house and the Make The Girls Dance material that has been carrying his sets from Ibiza to Coachella to his own XS dates this year. Two residents who know the room, going back to back on the last night of the reopening weekend.

“Seeing XS evolve and take on a new identity is exciting, especially knowing how much the environment can influence the way the music connects with the crowd,” Hugel said. “I’m looking forward to experiencing the transformation firsthand, taking in the atmosphere, and seeing where the music takes us.”

What Will Return

Wynn has framed the reopening as the next era rather than a restoration, and the four artists on the bill are all people whose residencies helped build the last one. XS has ranked among the highest grossing nightclubs in the world for most of its existence, and it did that on a room designed by Roger Thomas, a pool terrace with two level cabanas wrapped around it, and a booth that plays to the indoor and outdoor crowds at the same time. Wynn says the refreshed venue keeps that framework while upgrading everything around it.

More names are still to be announced for the reopening. What is already confirmed is enough.

XS Nightclub reopens Thursday, November 5 at Wynn Las Vegas. Tickets and VIP tables are available at wynnnightlife.com.

The post XS Nightclub Finally Announced It’s Reopening This November With A Massive Four-Day Lineup appeared first on Dancing Astronaut.

Virji arrives off the biggest stretch of his career. He took Best Producer at DJ Mag’s Best of British Awards last year, the first award win of his career, then sold out two straight nights at the 10,000 capacity Alexandra Palace in London this April, the largest headline shows he has ever played. Along the way he pulled one of the biggest crowds of the weekend at Coachella, picked up a BBC Radio 1 residency, watched “If U Need It” go Gold, and landed in the UK top 10 with “Cops & Robbers” alongside Skepta. Two nights in one city is not something he has been giving out often at this level, and Saturday sold out well ahead of the weekend.

Friday’s support comes from X CLUB. and 33 Below. X CLUB., the duo of Ben Clarke and Jesse Morath, came out of Brisbane before relocating to London, and they built their name on fast, hard, relentless sets that pull from early 90s techno through to drum and bass. Their records have landed on Mall Grab’s Steel City Dance Discs and Lobster Theremin, and they run their own Hide The Junk label. They are one of the more chaotic bookings on a garage bill and exactly the right kind of chaos for a pier.

33 Below plays both nights. Born in New Zealand and now based in London, Jack Laven has spent the last few years moving between UKG, drum and bass, and grime without ever settling into one lane. His EP PUSHER and the Scrufizzer collaboration “Mash Up” show how heavy he can go, and he has already worked with Virji directly along with supporting Fred again.. on the road. He knows this crowd.

Saturday’s bill brings in Sam Gellaitry, who comes at all of this from somewhere else entirely. The Scottish producer grew up in Stirling and built a cult following on SoundCloud before signing to XL at 18, and his 2021 single “Assumptions” took off across social media in 2025, hitting No. 5 on Billboard’s Hot Dance/Electronic Songs chart and turning into one of the songs of that summer. His debut album Anywhere Here Is Perfect followed the same year. Putting him next to Virji makes for a much wider night than the lineup suggests on paper.

The venue is a big part of why this weekend matters. The Brooklyn Army Terminal has stood on the Sunset Park shoreline since the First World War and spent the Second moving cargo and troops out to the Pacific, and it now runs as a working industrial campus for the city. Pier 4 sits right on the water, with the harbor on one side and lower Manhattan across it. Doors open at 4:00 p.m. both days and both nights are 18+, so this is a daylight into sunset show rather than a dark room, and that last hour of light on the pier is going to be the moment everyone talks about afterward.

If you have caught Virji before, you know what is coming, a pile of unreleased dubs, constant reloads, and a set that never sits still. If you haven’t, this is the one to go to. Saturday is gone. Friday is still available.

Sammy Virji plays Pier 4 at the Brooklyn Army Terminal on Friday, July 31 and Saturday, August 1. Doors at 4:00 p.m., 18+. Saturday is sold out but Friday tickets are available here.

The post Sammy Virji Brings His Iconic UKG Sound Back To NYC For Two Nights On The Brooklyn Waterfront appeared first on Dancing Astronaut.

“Fragment” is what happened when they got together in the same room.

The room was Sound Factory in Los Angeles. Two days, no schedule, no deadline. The guys traded places behind the boards and let the track tell them when it was finished. And it kept declining to be finished. Every time the arrangement closed, they pried it back open and added more.

Club music runs on loops. The eight-bar familiarity, the drop you can feel coming from a mile away, the patterns that let a room move in unison because everyone already knows what’s next. “Fragment” isn’t that. It moves forward and mostly doesn’t look back, a composition that keeps mutating instead of settling into a pattern. Techno and melodic house are the foundation and the rest is a carefully constructed friction.

The track was never supposed to leave the booth. “Fragment” started life as a live ID, the kind of unreleased weapon DJs keep for themselves. But not anymore.

The post Unter Strøm share their third single ‘Fragment’ appeared first on Dancing Astronaut.

Landing at The Festival Grounds at Shell Energy Stadium November 13–14, the inaugural Breakaway Houston will be headlined by Dom Dolla, GRiZ, Cloonee, and Tape B — a four-way split between tech house dominance and bass music’s current center of gravity.

Dom Dolla arrives having spent the year as one of the most in-demand names in global dance music, and his second Breakaway appearance of the season closes the loop on a tour that opened with him in Tampa in April. Cloonee brings the same relentless tech house pressure. On the other side, GRiZ’s live show — the saxophone, the production, the sheer maximalism of it — is one of the few genuinely theatrical sets in American electronic music, and Tape B’s rise from regional favorite to headline booking has been among the fastest in bass music.

The supporting bill is broad. BLOND:ISH brings Afro and melodic house, INZO the psychedelic bass end, and Big Gigantic another dose of live instrumentation. Kaleena Zanders, Riordan, and Daniel Allan represent the vocal and songwriting side of the genre, while wreckno, Know Good, HOL!, and Steller cover the rest of the low end. Frank Walker, jigitz, Ares Carter, and 2ŁØT round out the national roster.

Houston locals are well represented, with Jake Shore, Hans Glader, Soar, Linska, Celo, Kendi, DEM1GOD, and KADE FINDLEY on the bill one of the deeper local commitments Breakaway has made at a debut market.

Two-day GA, VIP, Ultimate VIP, and Terrace passes are available through the Breakaway website starting at $159.

The post Breakaway closes its biggest year in Houston with Dom Dolla, GRiZ, Cloonee, and Tape B appeared first on Dancing Astronaut.

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ISOxo is the most interesting name on the marquee. The San Diego producer’s ascent, from Knock2’s collaborator to a headline draw with a genuinely distinct sonic identity, has been one of the defining arcs in American bass music over the past three years, and giving him top billing alongside Tiësto and Marshmello. SOFI TUKKER bring live performance and actual songcraft to a bill otherwise built on DJ sets.

The undercard is deep and unusually well-sequenced. Layton Giordani represents the techno end and has become one of the more credible American exports in that lane. Malaa’s Alter Ego set, Deathpact’s anonymous bass project, and Whethan’s return all sit in the middle of the bill, with AVELLO — a Dancing Astronaut Artist to Watch in 2026 continuing a breakout year that’s taken him from Ophelia debut to festival regular.

House gets real representation through CID, KREAM, Swimming Paul, Devault, HILLS, and Klo, while ARMNHMR handle the melodic bass corner. STARJUNK 95, Machaki, Tavatli, Capochino, Brainrack, and JULS round out the national bill, with Philadelphia locals 2ŁØT, Rich Dietz, RLPZ, and Gazza rep the city.

Two-day GA, VIP, Ultimate VIP, and Space Deck Terrace passes are available through the Breakaway website.

Nightly afterparties to be announced.

The post Breakaway Philadelphia returns to Subaru Park with Tiësto, Marshmello, ISOxo, and SOFI TUKKER appeared first on Dancing Astronaut.