While many might see a cold, snowy day as an obstacle for a great rave at Red Rocks, Subtronics and fans thought otherwise. The set began thirty minutes early, as Subtronics even started his set 30 minutes early after expressing online that he wanted fans to drive home safely before things began to freeze.
Denver’s EDM crowd saw Friday night as a perfect opportunity to showcase their flashiest snow gear. Coats of all styles kept fans warm — neon ponchos, bedazzled snow pants, pokémon onesies, and all forms of Subtronics merch were present.
The first artist to brave the snow was Ahee, who brought important energy to the stage as fans prepared for the long night ahead. Ahee seems to share the space-age science fiction side of dubstep with Subtronics. Alien noises incorporated in arm-pumping bass, Ahee brought a space club to the slippery bleachers.
As the air grew colder, a recent Colorado transplant, VEIL, took to the stage. VEIL has been experimenting with a dark sound and haunting effects that shake listeners to their core. Tracks that lay heavy over the audience like a thick cloak bring a hypnotizing energy that lingers even after the song is completed.
VEIL brought a similar fantasy element, transporting fans out of their everyday mundaneness and into the realm of rattling bass. Twisted voices crept around the edge of each song, many remaining just out of earshot yet still making their presence known.
It was no surprise to see IMANU on the setlist after his features in Subtronic’s most recent album Antifractals. Following VEIL’s darkness, IMANU presented choppy, pointed beats, sending vibrations of every frequency through the crowd. From the intense revving of a motorcycle to the static of an old television, technology was his medium.
After IMANU, Netsky greeted the crowd with his thick accent and a wide smile. The set began with early 2000’s house, remixing “Satisfaction” by Benny Benassi and The Biz. Suddenly the leading bass line from The Red Hot Chili Peppers’ “Can’t Stop” cut through the night air with unwavering alt-rock strength. No genre was off-limits.
Then came Nestsky, who grooved with dance moves that might remind you of a European frat boy. And we mean that in the most endearing way. His forceful bass drops moved the crowd into a true house music frenzy. With another drawn-out transition, “Rumble” by Skrillex, Fred again.. and Flowdan suddenly emerged. Netsky moved from genre to genre with samples, leaning into g-funk, European house, reggae, hip hop and rock with ease.
Subtronics’ set revealed a second backdrop below the DJ table. Spacescapes shifted in all directions and large hooded figures emerged. Words moved across the screen, “We are part of this universe, but perhaps more important… the universe is in us.” The ethereal energy built and transitioned into a remix of “Gassed Up” with Zed’s Dead and Flowdan that dropped with bursts of flame. It was officially show time — and Subtronics clearly wasn’t messing around.
An animalistic cyclops loomed on screen, with multiple pairs of gnashing teeth drooling furiously as it moved in and out of focus. Continuing with cultural relevance, the iconic quote “It’s Britney bitch” from “Gimmie More” by Britny Spears echoed through the rocks. A stunning drop incorporated “m.A.A.d city” by Kendrick Lamar and got all hip-hop heads in the crowd screaming at the top of their lungs.
From metal to hip-hop, Subtronics incorporated all forms of hardcore music genres together under one roof — or more accurately, between two rocks — into his iconic dubstep and EDM style. This included “Bodies” by Drowning Pool and “Swimming Pools (Drank)” by Kendrick Lamar. These different manifestations of anger, strength and fury in music have a particular way of sweeping listeners off their feet.
Many original songs are littered with expletives, commanding phrases and, for lack of better words, fighting talk. Subtronics songs prepare a landscape for the listener, only to have a monster, wheeling out of control, pave a path of destruction straight through it. The tall pillars of fire brought a medieval element to the stage, evaporating snow with each blast.
Both Subtronics’ sound and visuals demand the listener’s attention. At different points during his set, hands reached out of the screen towards his figure, beginning to close fingers around him ominously. A spider-like hand moved ravenously through a landscape, always just out of reach.
The rage and intensity expressed in his music coexist with compassion for his fans and music. “When you guys yell like that it melts my fucking heart” Subtronics said to his screening fans.
Relentless energy pounded through the amphitheater with “Griztronics,” a remix of “Escape” by deadmau5 and “Cyclops Rocks” which Subtronics proudly introduced as “the song made specifically for this place.” Subtronics performed before the gaping maw of a cyclops without fear. His energy was unmatched, raw and explosive much like the bursting flames before him.
Finally, the legendary battle of “Womp Portal” was fought on screen as the night grew late. Subtronics asked the crowd to chant “Cyclops Army” with him before bringing the set to a close. Despite the tundra-like conditions, the crowd did not waver until Subtronics reluctantly left the stage.