October 24, 2026
DETROIT — Exactly one week out from Halloween, the Majestic Theatre was primed for absolute chaos. The two-night Detroit stop of Whethan’s warehouse.wavs tour had completely sold out, making it feel like a massive win to score media passes for Night 2. Inside, the crowd was a lively mix of standard rave attire, fishnets, and early Halloween costumes: a detail I immediately regretted skipping as the bass began to hum through the floorboards.
While the Majestic is relatively compact compared to Detroit’s larger concert halls, its acoustic punch completely defies its footprint. The venue brought a booming, chest-rattling sound system that didn’t just play music. It vibrated our brains and made the floor shake, keeping every deep frequency reverberating while maintaining crisp highs throughout the room.
9:00 PM – Audia Sets the Tone
Up-and-coming electronic artist Audia kicked off the night at 9:00 PM, wasting no time turning the floor into a swirling pit of low-end frequencies. Blending dirty, trappy wub-step with heavy dubstep, her set gave me instant nostalgia for sweaty bass nights at Elektricity in Pontiac, leaving me wondering if I’d caught one of her sets before.
Her transitions were smooth, deliberate, and fiercely engaging. Early on, she teased a snippet of ’N SYNC’s 2000 classic “Bye Bye Bye” before plunging into a filthy deep bass breakdown, followed by a heavy dubstep flip of t.A.T.u.’s 2002 hit “All the Things She Said”. By her fourth track, the room was locked in with face-scrunching “bass faces,” synchronized headbanging, and heavy foot-stomping echoing across the room.
Paying respect to the host city, Audia dropped a neck-breaking dubstep flip of Eminem’s “Lose Yourself”, shifted into a cinematic, melodic interlude, and then ripped into a drum-and-bass remix of Fred again..’s “Leave Me Alone”. Seamlessly wrapping up with M83’s “Midnight City”, another Eminem nod, and Travis Scott & Playboi Carti’s “FE!N”, she kept the crowd hooked. Watching from the accessible seating area to save my energy for the headliner, it took everything in me not to go crazy flailing every limb in sight (I did anyways).
10:45 PM – Supercomputer Glitches the System
By 10:45 PM, the venue was packed shoulder-to-shoulder as the anonymous act Supercomputer stepped onto the decks. Their look was unmatched: the artist literally wore a piñata-sized, ’90s CRT computer monitor on their head complete with glowing digital eyes, a sight that instantly sparked nostalgia for the 56k dial-up era.
Where dial-up internet failed us, Supercomputer’s set delivered pure, high-speed adrenaline. Rolling through a fluid blend of liquid dubstep, riddim, tech-house, and 8-bit chip-tune sounds, Supercomputer bounced the heavy monitor on their shoulders with every drop.
Highlights included a crushing dubstep spin on A$AP Ferg’s “Work REMIX”, a bouncing house take on Lil Wayne’s “A Milli” that dropped into deep bass, and a high-octane house remix of Eminem’s “Without Me” that had the entire Detroit crowd screaming every word with middle fingers in the air. Later, they turned The Killers’ “Mr. Brightside” into a hands-in-the-air, Marshmello-esque rave anthem, sprinkled in trap samples from Bobby Shmurda’s “Hot N***a” and XXXTENTACION’s “Look At Me!”, and laced it all with nostalgic video game synths.
As they exited the stage (carefully guided by crew members due to limited visibility inside the monitor), Windows startup sounds and dial-up tones echoed over the speakers, closing out one of the most uniquely fun sets of the year.
11:30 PM – Whethan Reclaims the Throne
At 11:30 PM, Chicago-born producer Ethan Snoreck, better known as Whethan, took total control of the venue, demonstrating why he’s one of the best multi-genre shapeshifters in EDM today.
He launched hard into his set with a heavy remix of Mike WiLL Made-It’s “23” (feat. Miley Cyrus, Wiz Khalifa, & Juicy J) before debuting a brand-new unreleased ID. It was easily the wubbiest track I’ve ever heard from him, complete with massive red “WUBS” text flashing across the screen behind him.
Whethan’s 90-minute set was a masterclass in multigenre curation, jumping effortlessly between heavy dubstep, house, riddim, and hyperpop-infused trap. Fans went wild for his BKTHERULA collaboration “I GO PUNK”, a grimey dubstep edit of Breathe Carolina’s 2011 classic “Blackout” (taking me right back to high school), and a driving remix of Kaskade & deadmau5’s “Move for Me”. But when he dropped his energetic flip of “Swag Surfin'”, the whole room lost its mind by screaming, stomping, and flailing side-to-side.
In a touching moment, Whethan dropped a live tribute to his friend and frequent collaborator Oliver Tree. He also threw down a head-spinning remix of Kid Cudi’s “Day ‘N’ Nite” that completely transformed the track into a stadium-sized banger.
While I was quietly holding out hope for “Place in My Mind,” the non-stop energy, seamless transitions, and relentless low-end rumble made it easy to forgive the exclusion. By the time the lights came up at 1:00 AM, my ears were ringing and my body was exhausted, but Whethan easily secured a spot in my top 10 concerts of all time.
Goodnight Detroit, see y’all headbanging at the next one!
-Angelica Nagy, Music Journalist
