From YouTube lab to headline rooms
Aries built his name as a self-made singer-rapper who writes, produces, and designs much of his world. He grew from a YouTube remaker of popular instrumentals into an artist with a tight blend of indie color and trap bounce. The
GLASS JAW era leans sharper and more percussive, but the sticky hooks remain the core. A likely set might stack
SAYONARA,
CAROUSEL, and
ONE PUNCH early, with
RACE saved for a late push.
Hooks, pits, and deep cuts
Expect a mixed crowd of bedroom beat-makers, skaters, and pop-leaning rap fans trading lyrics between jumps. One neat footnote is that
Aries self-directs many videos and will often tweak transitions on stage to mirror his edits. Another nugget is his early practice of recreating famous beats from scratch, which shaped his ear for detail in drum programming. All mentions of songs and staging here are educated guesses drawn from past shows, not promises.
The Scene in the Room
Streetwear with scuffs and stories
You will see worn skate shoes, black hoodies with hand-drawn prints, and vintage caps next to clean tees from the merch wall. Small groups trade production tips between songs, and you can spot camera rolls ready for the hook hits rather than every moment. Chants pop up fast, with pockets yelling one punch before
ONE PUNCH, and a loud jump cue when
CAROUSEL hits its last chorus.
Rituals without a rulebook
Posters and hoodies tend to lean minimalist, often with a glass motif and tidy fonts that echo the current era. Fans treat
Aries like a peer who got very good at the craft, so the feedback feels collaborative rather than worshipful. Older heads nod to the SoundCloud moment that birthed this lane, while newer fans zero in on clean mixes and punchy drums. After the encore, people linger comparing favorite bridges and debating which songs flow best into an opener, the kind of talk that keeps the scene alive.
Arrangements First, Lights Second
Hooks that hit clean, then hit harder
Live,
Aries leans into a clear, chest-voice delivery and lets light pitch correction stay out of the way. A guitarist and drummer fatten the loops, with the bass running off tracks to keep the low end tight. Intros are trimmed so the drop arrives quicker, while bridges often go half-time to reset the bounce.
Small tweaks that change the feel
He likes to nudge tempos a touch faster on stage, which makes the mosh-spark moments hit cleanly. One under-the-radar habit is cutting the beat before the final chorus so the room can carry the hook, then slamming the drums back for a last run. You might hear ad-libs triggered from a pad instead of being shouted, keeping the phrasing aligned with the studio cut. Visuals back this music-first approach with bright strobes and fast color wipes that trace snare patterns rather than flood the whole stage.
Kindred Tones on the Road
If you like melody over mood swings
Fans of
Iann Dior will recognize the glossy sing-rap tone and the quick shift from melancholy to bounce.
nothing,nowhere. brings a darker emo edge, but the guitar-backed surge he uses live matches where
Aries takes his choruses.
Joji shares the soft-focus melodies and breakbeat undercurrents that peek through in the quieter cuts.
Scenes that intersect, not duplicate
If you like clean, airy pop with a bedroom bite,
Jeremy Zucker sits in the same lane, especially in the way both acts keep drums crisp and vocals upfront. Together these artists pull crowds that are open to hooks, but still crave a little grit under the shine. They also work well in venues where a live drummer can flip trap patterns into bounding rock energy without losing the pocket.
