From Rhode Island decks to marquee rooms
He started as a working club DJ in Providence before MTV made his face a household image. The sound is open-format and high pace, jumping from rap hooks to dance drops without long build-up. Expect big sing-alongs, pop-punk bites, and a lot of call-and-response mic work. Likely song moments include his own
Beat Dat Beat (It's Time To) and
Back to Love, along with crowd-tested flips of
Mr. Brightside and
Turn Down for What. The crowd skews mixed-age dance fans, reality-TV nostalgics, and local club kids, dressed from clean sneakers to glitter tops and vintage tees. Lesser-known bits: he opened part of Britney Spears' 2011 run and once signed a deal under 50 Cent's G-Note banner, and he still travels with custom edits built around punchy kick patterns for Jersey-friendly bounce. Please treat the setlist and production notes here as informed guesses that can change from night to night.
What you might hear and who shows up
Hair Spray and House Kicks
Club polish, casual ease
The scene mixes sharp streetwear with club sparkle, like clean sneakers next to glitter tops and vintage MTV tees. People roll in as small groups ready to sing, and call-and-response chants pop early and often. You might spot signs and shirts nodding to phrases like Yeah Buddy or Cabs Are Here, plus hair-silhouette logos on merch. Fans trade glow bracelets and record the big throwbacks, then pocket phones when the drop hits to jump with both hands free. Pre-show hallway music often turns into mini-parties, warming the room before the first lift. The culture reads welcoming and party-first, with no pressure to know every remix as long as you bring volume to the chorus. After the last hit, folks linger to swap clip highlights and song IDs, already guessing which throwback gets flipped next.
Shared jokes and throwback flair
Fader Moves, Crowd Grooves
Fast hands, tighter edits
Expect tight cue-point juggling that snaps between rap verses and four-on-the-floor beats. He uses the mic to count down builds and cuts the bass to let the crowd sing the hook. Tempos often climb from around 100 BPM up to 128, using quick doubles and echo-outs so the shift feels smooth. Arrangements favor short intros and fast transitions, so songs live for a minute or two before the next lift. The low end is tuned for chest-thump, while highs stay bright so claps and snares cut through the room. A lesser-known habit is teasing a pop-punk chorus a cappella, then slamming into a festival house drop, keeping both nostalgia and release. Lighting chases the build with strobes on the drop while screens throw bold graphics, but the music stays up front.
Drops built for release
Fans who chase the same lift
If you like high-impact drops and sing-it-loud hooks,
Steve Aoki fans will feel at home because both shows reward big group moments.
Lil Jon brings shout-led hype and trap drums that match the party-rap pockets here.
Diplo roams between pop, house, and dancehall, echoing the open-format jumps and surprise pivots.
The Chainsmokers attract people who want glossy pop lines over club beats, which parallels the radio-ready remixes you will hear.
Dillon Francis adds tongue-in-cheek mic bits and bright midtempo grooves that connect with the playful sections in this set. Fans of all these acts tend to favor hooks you can yell, drops you can time with the lights, and a mood that picks fun over deep crate digging.
Overlap by sound and scene
