Subtronics cast his watchful eye over the Tacoma Dome as his Cyclops Army assembled. I want to think he’s what Sauron would have been like if he had been shown more affection.
The dubstep superstar and an all-star lineup planted the one-eyed flag of victory at the second annual Cyclops Dome November 15-17.
“Please drink some water, eat some food, and tell your friends and family how much they mean to you,” Subtronics said after each night in Tacoma. “Please be f—ing nice to each other. Lastly and most importantly, if you are driving and are remotely f—ed up, don’t drive. Get a sober friend or an Uber to take you home safely. And once you get home, smoke as much weed as humanly possible!”
Fans of Subtronics are familiar with his regular closing remarks, but hearing it three consecutive nights emphasized why people rally to him. Compassion, collaboration and humility are integral to the Subtronics experience. That sentiment touched everything in sight.
Cyclops Dome 2024 featured an impressive supporting lineup with Alison Wonderland, Dimension, NGHTMRE and RL Grime among the most popular names on the billing. You don’t always see supporting acts with popularity on par with the headliner, but Subtronics has the gift of bringing people together.
Jason Fenmore/Oh Dag Yo
Subtronics anchored the show with three terrific headlining performances over the weekend. He welcomed Wonderland on Saturday to debut their since-released collaboration “No One Does It Like” and his wife LEVEL UP on Sunday. It wasn’t unusual for Subtronics to take small breaks to express gratitude for the audience, who he thanked for allowing him to play personal or unreleased tracks without judgment. The occasion wasn’t lost on him.
Headlining three consecutive days is a complex task. Subtronics was refreshingly mindful that he was performing for distinct audiences: three-day ticket-holders, two-day guests and single-day visitors. In a clever effort to provide something for everyone, he would play different versions of popular songs like “Griztronics” and “Into Pieces” on separate nights. This ensured most fans would hear their favorite songs while rewarding repeat customers.
The Tacoma Dome is a well-established and competitive Pacific Northwest venue. Subtronics came equipped with the appropriate lasers and lights for the occasion but incorporated a new production element that sets Cyclops Dome apart.
Nearly a dozen specially designed panels hung from the venue’s rafters. Each rectangular panel was fitted with LED screens, light strips and lights. The panels—programmed along with the show’s other production elements—were versatile tools adding incredible depth to the show. They sometimes replicated the screen visuals or functioned as synchronized lights.
A personal favorite was when the rigs rappelled down nearly within reach, and those dancing directly underneath bathed in the lights. The panels provided an immersive experience up close and added theatrical elements further back, providing unique vantages depending on where you stood.
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Cyclops Dome’s impressive lineup lived up to the hype, satisfiying dubstep enthusiasts while providing more variety than comparable shows in its genre. Wonderland threw down so ridiculously hard, you’d think she had a point to prove. Her thrashing set was accompanied by a cinematic intro and eerie visuals evoking the work of her husband, horror film director Ti West.
Dimension and NGHTMRE were a match made in heaven. B2Bs can struggle with sounding disjointed or so similar you can’t tell the artists apart, but that wasn’t the case here. Apologies to the bathroom patron who boastfully—and disappointingly—claimed the duo would perform a “bass house” set. Dimension B2B NGHTMRE was a perfect marriage of the former’s drum & bass and the latter’s trap and dubstep leanings. NGHTMRE took the lead in the first half, easing fans into Dimension’s breakneck pace down the stretch.
The “Angel” collaborators were very effective at blending their styles, taking a beloved NGHTMRE track like “Alive” or “FEELING GUD” and touching it up with frenetic drum & bass rhythms. The stage screens were turned off for large portions of the set, allowing lights and lasers to shine while giving the 21,000-capacity venue an underground atmosphere. It was a marked contrast from the set that came before.
INZO deserves special acknowledgment for putting together a touching set. The Visionquest producer penned a beautiful script that was at times invigorating or wondrous. Cyclops Dome’s scale implored INZO’s set to be everything one would imagine. The visuals were warm, the vibes were immaculate and at least one patron in my party visibly sobbed. The togetherness experienced during his finale was a poignant reminder of what brought everyone together.
To that end, Subtronics genuinely seems to care. It’s evident by the warm environment fostered by his fans and his actions that weekend. The wait to get into the venue on Friday was admittedly painful—the line wrapped around multiple times and caused long delays getting in, seemingly due to limited entry points. Subtronics apologized on social media in real-time, assured he was addressing it and that it wouldn’t be a problem the following days. Not long after, the entry process picked up and stayed smooth for the rest of the weekend.
Subtronics is on the cusp of something special. He’s building an empire not with an iron fist, but with a loving hand. His music is the foundation of his success, certainly, but the camaraderie with his audience and peers are the cornerstones reinforcing his growing domain. If the original Cyclops Dome was a test pilot, this sequel strongly affirms a bold future.
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