Subtronics

Subtronics

United States · 2 upcoming shows · 1 past appearance

HouseBassScene & Other

Subtronics is Jesse Kardon, a Philadelphia producer who came up through the riddim underground with his "Now That's What I Call Riddim" mixtape series and broke out in 2019 with "Griztronics", a GRiZ collaboration that went top 10 on Billboard's Hot Dance/Electronic chart. His sound is dense, screeching, heavily engineered dubstep - the sound design is what other producers talk about - and he runs the Cyclops Recordings label. He has since scaled up to arena and stadium-tier bookings with a production-heavy show built on lasers, pyro and wall-sized LED. In the Pacific Northwest he tends to appear as a festival headliner rather than on club bills.

Popularity

How this is measured

An absolute, national (US) measure — not a ranking against the other artists on this site. We take the strongest of three open signals: ListenBrainz listens, English Wikipedia pageviews, and the number of Wikipedia language editions that have an article. The strongest one wins, so a signal we couldn't read never drags the result down. Bucket 1 means measured and small. Unrated never means small — it means we don't have the numbers.

Listen

Top songs

  1. Griztronics (with GRiZ)
  2. Black Out Days - Subtronics Remix
  3. crystallized (feat. Inez) - Subtronics Remix
  4. Contour (feat. Lyrah)

Upcoming shows

What listeners say

84/100

Attendee and reviewer reaction to Subtronics sets is close to uniformly enthusiastic, and the production is the recurring headline: a Barclays Center review of the TESSERACT tour describes jaw-dropping visuals - lasers, pyrotechnics and full-wall LED screens built around whichever album cycle he is on - synchronized tightly to the music. Sound design is the other constant compliment; the same reviewer notes that even people who do not follow bass music can appreciate the engineering, and credits his range from groovy and subdued to hard-hitting. The one persistent reservation is genre-level rather than personal: riddim-leaning dubstep is criticised for repetitive quarter-note drops, a characteristic Subtronics has himself acknowledged applies to his material. Be aware that this reading skews positive because the forums where bass fans air complaints are not reachable by this crawler.

Loved

+ production spectacle - lasers, pyro, full-wall LED visuals+ sound design widely regarded as best-in-class in bass music+ very high energy, well-timed drops and breaks+ strong crowd and community feel at his shows+ consistently delivers at arena and festival scale

Gripes

− riddim-leaning drops are repetitive by design; not for everyone− sets lean heavily on the same heavy-bass template across a tour cycle− crowd is very much a bass-scene crowd, which can be a lot for casual attendees

Gathered 2026-08-24 (high confidence) from open.spotify.com, en.wikipedia.org, edm.com, ellamorrissey.substack.com, bandsintown.com, edm.com, soundcloud.com, music.apple.com, youtube.com, open.spotify.com, open.spotify.com, open.spotify.com, open.spotify.com, https://www.deezer.com search API — artist image via exact case-insensitive name match, highest fan count

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