Jesse Kardon, now 33, has transcended his early days of bedroom music production with Ableton. The DJ and producer, globally recognized as Subtronics, has cemented his status as a major EDM artist. Over a decade and a half, his journey has spanned from small club gigs in his native Philadelphia to a massive headlining show at the Sphere in Las Vegas last fall, culminating in a historic series of six sold-out performances at L.A.’s Shrine Auditorium in December.
While he surprised fans with a set at Coachella’s intimate Do Lab stage in 2022, this year marks his official debut in Indio, California, where he holds the highest billing for a dubstep-rooted artist, slated to perform on the expansive Sahara Tent this Sunday and again on April 19. Additionally, he’s scheduled for two Southland shows between his Coachella appearances: at the Fox Theater in Pomona on Tuesday and the GV Surf Club in Palm Springs on April 18.
Although EDM has progressively become a dominant genre, making up almost 45% of this year’s lineup, artists from the often-divisive dubstep/riddim scene seldom receive such a prominent spotlight.
Subtronics has broadened his sonic palette considerably in recent years. His acclaimed remix of John Summit’s “Crystallized feat. Inéz” has earned widespread praise. Meanwhile, “Fibonacci Pt. 2,” the latest in his math-themed releases, skillfully blends melodic elements with heavy bass. Other notable tracks include “Infinity,” featuring fellow EDM DJ Grabbitz, and “Contour,” with vocalist Lyrah.
Despite integrating more melodic soundscapes into his artistry, Subtronics remains steadfast in his mission to foster greater understanding of the genre that initially shaped his path. He credits his childhood experience playing drums for instilling a fundamental sense of rhythm, and the raw sounds of Philadelphia hip-hop and trap continue to influence his current work.
Dubstep has profoundly impacted his personal life. As a child, a mutual passion for the scene strengthened his bond with his sister. Later, he encountered Sonya Broner, a dubstep artist known as Level Up. Broner is now his wife, and the two frequently collaborate.
Speaking remotely from his new residence in Laurel Canyon, Subtronics delved into his monumental Coachella performances and offered insights on various topics, from what to expect from his set to his enduring legacy within dubstep and beyond.
This interview has been lightly edited and condensed for enhanced readability.
“I’m truly optimistic about introducing bass music to a broad new audience, as I believe a rising tide lifts all ships,” stated Subtronics.
(Jason Fenmore)
What’s your current mental state? How are you approaching this weekend?
“My focus has been intensely centered on Coachella since wrapping up the tour, which was roughly two or three weeks ago. It’s been an absolute all-hands-on-deck effort, working on it continuously.”
Walk me through the moment you received the news about booking Coachella. Was this a specific long-term objective for you and your team?
“Honestly, it was a multi-year strategy. Coachella was genuinely the target, and we carefully considered the various opportunities we’d had and those on the horizon, strategizing how we could pave our way to Coachella. The Shrine shows were key to that. The idea was that if we could sell out three [nights at Shrine], we’d stand a strong chance of securing a booking. We ended up selling out far more. Getting such an excellent time slot on an incredible stage… both my adult self and my inner child are absolutely thrilled.”
Did you take a moment to savor the accomplishment?
“Absolutely, yes. You know, it always manifests as these small, distinct moments. I frequently pause and reflect, thinking, ‘Stop and truly appreciate how far you’ve come.’ ‘Stop and grasp the significance of this. You are genuinely achieving these things; all this hard work has paid off and materialized.’ This Coachella spot, and just being able to perform at all, serves as validation against imposter syndrome. It’s beyond my wildest dreams and expectations. I never imagined it would reach this point; I was simply trying to learn how to create cool sounds.”
Do you consider your place within the historical landscape of electronic music and Coachella?
“Oh, wow, I deeply appreciate that question, because it’s paramount to me. When I first began, beyond just wanting to learn and improve, my primary ambition was to contribute to the culture and leave a lasting, memorable impact, as I’m incredibly passionate about the history of both dubstep and dance music. Coachella has hosted so many iconic moments. It’s a profound honor, because I just think, ‘Oh my goodness, dude,’ like Daft Punk, you know? It’s hard to fully comprehend, but being remembered years from now and doing things that genuinely advance the culture is what matters most to me.
I’m really hopeful about introducing bass music to many new individuals, because I firmly believe that a rising tide elevates all ships. There are so many of us who make dubstep and bass music. And I think whenever one of us gets an opportunity like this, it truly expands the possibilities for the entire scene. We’re all in this together… countless talented producers deserve to earn a living from their craft. And the larger the scene grows, the more people can thrive within it, pay their bills, and live fulfilling lives doing what they love.”
As the highest-billed dubstep artist at this year’s festival, Subtronics sees his performances as a prime opportunity to introduce bass music to a broader, mainstream audience.
(Jason Fenmore)
Have you felt any pressure, and how have you managed it?
“Yes, absolutely, because I perceive pressure from several angles. I’ll feel pressure from the dedicated core fanbase to adhere to a specific style. Then, as both a DJ and a music producer, I also feel the opposite kind of pressure when presented with opportunities far removed from the essence of dubstep—the pressure to gauge the room, to truly act as a DJ, understanding the audience’s energy. So, it feels like I’m being pulled in two distinct directions. My response to that has been to trust my own judgment – to consciously disregard both sets of expectations, to completely ignore everyone, and to have faith that my artistic preferences are precisely what brought me to this point.”
What is your primary objective for these upcoming shows?
“While I produce a variety of material, I primarily identify as a dubstep and bass music artist. So, presenting that on such a grand stage to a vast audience, many of whom might not be exclusively EDM festivalgoers… performing for them is incredibly exciting. And then there’s the livestream component as well; a tremendous number of viewers who might be completely new to bass music or dubstep will be tuning in. I embrace the responsibility of introducing people to bass music and framing it in the most effective way I can. It’s also about expressing myself as genuinely and authentically as possible—creating that moment of individuality and distinctiveness.
What aspects of dubstep do you believe mainstream audiences often misunderstand?
“Something I find fascinating is that the initial wave of dubstep, from the original U.K. scene between 2004 and 2008, was quite melodic and musical, even played on the radio. It wasn’t nearly as polarizing back then. Naturally, it became more aggressive, more expansive, flashy, and overstimulating as it migrated to the States. My aim is to find a middle ground. Early in my touring career, I frequently found myself incorrectly categorized under a sub-genre [as riddim].
The issue is that ‘riddim’ already designates a genre: dancehall. It already exists… I don’t think that’s widely known. It probably should have been called something like ‘swamp’ or ‘trench.’ A few alternative names were circulated. I personally dubbed it ‘wonky step’ at the time because it was very quirky and repetitive. I guess ‘riddim’ just stuck for some reason. I often played for crowds who gravitated towards more melodic, theatrical sounds, and many would approach me after my sets, saying, ‘I usually don’t like riddim. I’ve never enjoyed riddim before, but hearing it in your set… it actually makes sense to me now.’ So, I aspire to be almost a translator. My goal is to express myself authentically and honestly, performing all original music in a manner that resonates with both mainstream audiences and genre insiders.”
Do you recall your very first performance as Subtronics? And is there a particular memory from that time that you carry with you into this weekend?
The first time I actually stood on stage at a dance music venue with my name on the screen, playing my own tracks, I was the opening act at SoundGarden Hall, which is now known as The Ave. One of the most mind-blowing early experiences happened when I was playing an after-party in one of Philadelphia’s toughest neighborhoods—perhaps one of the most dangerous places I’ve ever been. I was by the front door, where people were dealing drugs and selling nitrous, when a stranger, someone I didn’t know personally, walked in and said, ‘I heard Subtronics is playing tonight. Is that true?’ My brain just exploded. It was the very first time I had a fan whom I didn’t know personally, and I will never forget that. I will never, ever, ever, ever forget it for as long as I live.”