Two Feet presale codes

Two Feet emerged from NYC's indie-electronic corner, mixing bruised vocals, sub-heavy beats, and bluesy guitar leads. It is the solo project of Zachary Dess, a producer-guitarist who writes and records most tracks himself.

City-noir roots, studio-first instincts

On stage he leans into slow tempos and clean, bending lines while the rhythm team keeps the low end thick. Expect a tight run through I Feel Like I'm Drowning, Had Some Drinks, BBY, and Caviar, with small reharmonized bridges and stretched outros.

Setlist snapshots and who shows up

The crowd skews mixed in age, with beat-heads, R&B fans, and guitar nerds trading nods rather than shouts, and couples posted near the subs. Early on, he cut classically simple demos that kept the first guitar take if the feel landed, and he still prefers single-take solos over stacked edits. A lesser-known note: several tracks began as bass riffs on a cheap interface he still carries as a backup on the road. Set choices and production touches mentioned here are informed guesses, not a promise of what will happen.

The Two Feet Crowd, From Wardrobe To Chorus

Fans dress in dark tones, sneakers, and simple layers, with the odd glossy jacket that catches the strobes. You will hear quiet choruses sung as a group, especially the long notes from I Feel Like I'm Drowning and the hook of Had Some Drinks.

Night-out minimalism

Between songs, the room settles rather than shouts, and you might catch a wave of finger snaps instead of claps on intros. Merch trends run to clean logos and muted colors, the kind of shirt you can wear the next day.

Shared quiet, shared pulse

A small tradition is fans filming the first drop and then pocketing phones for the solo, a nod of respect to the guitar break. After the show, clusters compare favorite bass moments and pedal guesses, and newer fans swap song titles to dig into on the ride home.

Two Feet, Up Close: How The Songs Hit Live

Live, Two Feet sings close to the mic, keeping the tone smoky and intimate while a tight drummer and bassist carve out a slow pulse. Guitar lines favor clean tone with a touch of slapback, then bloom into fuzz for choruses, so the lift feels earned rather than forced.

Slow tension, heavy release

Arrangements often strip the first verse to voice, kick, and guitar, adding keys or pads only when the hook needs width. He likes halftime flips after the second chorus, which lets the bass drop deeper without speeding the room up.

Small tweaks, big feel

A small but telling habit is lowering the guitar a whole step on a few songs, making bends longer and chords darker without changing fingering shapes. Lighting tends to follow the music, staying in moody blues and ambers until a riff spikes and the rig snaps to white for a bar. The band supports the core sound by leaving space, letting the sub carry the body while the guitar answers the vocal like a second singer.

If You Like Two Feet, You Might Drift This Way

Fans of Chet Faker will hear the same hushed croon over dusty beats, though Two Feet leans harder on blues guitar. James Blake fits for those who like space, reverb, and bass drops that feel personal rather than bombastic.

Kindred moods, different textures

If fluid keys and live looping appeal, FKJ shares that mellow pulse and late-night glide. Indie-pop listeners from Glass Animals cross over because of sensual grooves and head-nod tempos, even if the guitars bite more here.

Where scenes overlap

For R&B-forward crowds that still want low-end weight, Khalid is a soft landing near this lane. All of these acts draw audiences who value mood, melody, and a show that breathes between hits.