Opiuo presale codes

New Zealand-born bass producer Opiuo makes funk-driven electronic music with thick low end and playful synth flickers.

From Aotearoa to big-room funk

He built his name in Melbourne's party scene and now toggles between solo hybrid shows and live ensembles, a shift capped by a 2023 Red Rocks set with an opulent orchestra.

Songs you might hear

Expect a set that flips between midtempo strut and halftime bounce, with likely picks like Jelly, Robo Booty, Sneakers, and Butternut. He often stretches intros, teases the hook, and then snaps the groove back with rubbery bass and crisp snare cracks. The crowd skews toward producers and crate-diggers at the back, dedicated dancers up front, and a friendly mix of ages who pace themselves for long grooves. Early EPs came out on Addictech, and Slurp & Giggle helped mark the early glitch-hop wave in 2010. When he brings horns and strings, the parts are scored, not just layered on top, so melodies trade lines like a small funk orchestra. Note that the set choices and staging described here are my best guesses based on recent shows and could differ on the night.

The Opiuo Floor: Style, Rituals, Community

The scene leans colorful but practical, with light sneakers, patterned shirts, and small utility packs so hands stay free to dance.

Friendly funk tribe

At Opiuo shows you see pin-trading on hats, a few LED hoops along the side, and fans comparing favorite bass sounds like old skate spots.

Rituals on the floor

Call-and-response happens less as lyrics and more as rhythmic claps and a quick "O-pi-u-o" chant between buildups. Merch trends tilt toward bright oranges and purples with geometric fruit and circuit shapes, plus vinyl runs of Meraki or Omniversal when stock appears. People pace themselves, taking short breathers in the back and then drifting forward when a familiar riff returns. The culture prizes consent and space on the floor, so flow artists keep to edges and folks make room when someone needs water. It feels like a neighborhood party run by sound nerds, warm and curious rather than rowdy.

How Opiuo Builds the Bounce

Live, Opiuo builds songs from fat basslines, syncopated drums, and little synth chirps that act like horn stabs.

Groove first, tricks second

Tempos live around the 95–110 zone, then he flips to halftime so the same tune breathes like a slow head-nod before sprinting back.

Small changes, big lift

Vocals are mostly chopped phrases and talkbox-style hooks, used more as rhythm than storytelling. With the band, real drums add pocket, a bass guitar doubles the sub for texture, and short horn lines punctuate drops. Without the band, he rides drum pads and faders, turning filters and saturation up to reshape a familiar track mid-flow. A small but telling habit is tuning the kick and sub to the song key, so the low end feels smooth instead of muddy when the chords change. He often reharmonizes a second drop or adds a brighter bridge, which gives repeat fans a fresh curve without losing the core riff. Visuals tend to match the music's bounce with bold colors and quick-cut patterns, keeping eyes moving but leaving ears in charge.

Kindred Grooves: Opiuo's Extended Family

If you like intricate bass with a warm heart, CloZee is a close neighbor, blending organic melodies with punchy drops much like Opiuo. The return of Pretty Lights brings jam-informed, sample-rich shows whose patient builds and live edits echo how Opiuo stretches his grooves.

Fans who share this groove

Sax-and-bass duo Big Gigantic draws a similarly dance-happy crowd that enjoys funk chords over heavy drums.

Neighboring sounds on the road

Canadian pair The Funk Hunters share the crate-digger mindset and drop classic samples with modern low end, making their fans quick to tune into Opiuo. All four acts value melody and bounce over pure aggression, which keeps rooms smiling while the subs do real work. If your playlists jump between hip-hop tempo and festival halftime, this is the same lane, just with more cheeky swing.