VCTRE’s upcoming show at Meow Wolf’s Convergence Station represents a new level of creative control. Over the years, Denver has become one of the cities that consistently shows up for him, and this time he returns with a night built entirely on his own terms. From curating the lineup, which includes COPYCATT, Just Neeks, and Milla, to expanding the sound system and overseeing visuals, every detail reflects where the project stands right now.

However, that clarity hasn’t always been the starting point. Earlier in his career, the priority was momentum. Release music, stay active, and keep pushing forward. Over time, that urgency evolved into something more measured. Today, VCTRE speaks about polish with near obsession. Each track is approached with a long view in mind, judged less by immediate impact and more by whether it will still resonate decades from now. That shift has reshaped his writing process, trading speed for intention and refinement.

Full-length projects like Palindrome and East Kings Point marked pivotal chapters in that evolution. For VCTRE, albums function as timestamps. They capture a concentrated stretch of life, preserving not only the sound palette but the emotional landscape behind it. Working within that timeframe allows him to explore range without losing cohesion. Where singles often orbit a single idea, albums give space to document contrast, nuance, and progression inside a defined moment.

That sense of structure carries into his live performances. From his earliest days attending shows, VCTRE was drawn to the interplay of peaks and valleys. High-energy release balanced against slower, emotional transitions. Over the years, he’s worked deliberately to embed that dynamic into both his studio output and his stage presence. His “chill sets,” in particular, have expanded the emotional vocabulary of his performances, offering room for vulnerability alongside the weight and intensity that first drew listeners in. The goal isn’t simply impact. It’s immersion.

Meow Wolf’s Convergence Station provides a fitting backdrop for that philosophy. The venue is built around exploration and layered sensory experience, qualities that mirror the way VCTRE constructs his sets. Having the opportunity to shape the entire event, from lineup decisions to production enhancements, allows him to translate that ethos without compromise. Building something from the ground up carries its own kind of responsibility, and he approaches it with the seriousness of someone who understands how rare that opportunity can be.

Touring has reinforced that perspective. Years on the road have altered how he defines success, shifting the focus from individual ascent to shared experience. The ladder mentality that once dominated his thinking has softened into something broader. Night after night, he stands in rooms filled with people searching for connection, release, or acceptance. Creating a space where someone feels understood or finds community carries more weight than statistics ever could. Growth, as he sees it now, is collective.

As 2026 unfolds, the intention is direct. After more than a decade of shaping the VCTRE project, he is pushing toward what he calls the next echelon. There is no appetite for complacency. The commitment is full, the urgency sharpened, and the ambition clear. Refinement remains important, but evolution drives the engine. The Meow Wolf show aligns with that moment. It’s authorship, maturity, and forward motion taking physical form inside one of Denver’s most immersive rooms.

We caught up with VCTRE ahead of his Denver headline to talk about longevity, emotional storytelling, and what pushing the project further really means. Check out our conversation below!

Your music has always balanced heaviness with atmosphere, but over the years it has become increasingly intentional and emotionally cohesive. When you look back on your earlier work, what do you feel has changed most in how you approach writing music today?

I feel that over the years, I have just became obsessed with putting out polished works. In the beginning, I only really cared about putting songs out and to be honest, I don’t think I honed in on my talent as much as I have now. And that can be a blessing and a curse. Sometimes I do wish I had the naivety my younger self had. However, the main mindset that I have nowadays is will I like this 30 years from now.

Albums like Palindrome and East Kings Point marked major turning points in your creative arc. What did making full-length projects teach you about pacing, restraint, and emotional storytelling that shorter releases could not?

When I make these albums or full bodies of work, I try to make them all in a certain timeframe. I want them to capture the moment or the headspace that I’m in for a month or two months or however long it takes me to write an album start to finish. I feel like it’s a great timestamp. And going along with that, it gives me a great range to explore many different sounds as opposed to just one theme with a single.

Your live sets feel very deliberate, with tension, space, and release all playing a role. How do you think about translating the emotional depth of your studio work into a live environment?

Ever since I started going to live shows, I love the idea of peaks and valleys; very visceral, high energy moments intertwined with emotional transitions. I try to translate that as much as possible in my music, and then in turn, to my live shows. I have also been doing these “chill sets” for a couple of years now and that gives me even more range to deliver a very emotional and meaningful set. The hour or so on stage is something a put a lot of work into and my hopes are to create an escape for the crowd in that timeframe, as well as myself.

Denver has become a meaningful stop for you over the years, and this show at Meow Wolf’s Convergence Station feels like a natural fit for your sound. What excites you about playing a space that is built around immersion and exploration?

This upcoming show at meow wolf is a big deal for me because I have put together the entire show myself. From the line up, to extra sound, visuals, etc. I’m very blessed to be in a position where I have the opportunity to make these things happen, and it gives me great joy to build something from the ground up and put my all into every facet of the event. I am so excited for the show to come to fruition and to be in a town like Denver that has shown me so much love over the years.

Touring has clearly been a defining part of your journey, from early regional runs to nonstop national tours. What has life on the road taught you about yourself, both as an artist and as a person?

This is such a loaded question. It has taught me so much and has given so much growth as a human being. it has mainly showed me that you cannot do this by yourself. It takes a team. And it takes multiple people with a common vision working together. I’ve met some of my closest friends on the road. Some have passed, some have became lifelong friends, and somehow become mentors. How would I think the most important thing it has taught me is that we are all looking for connection and acceptance and there’s so many different people in these rooms each night looking for that and if i can be of help to someone going through a hard time or create a space where they meet their best friend or their future partner, that is enough for me to go to sleep happy at night. I used to look at shows in a selfish manner, (climbing the ladder, etc.) but I now have the outlook that it’s much bigger than myself.

As you look ahead to 2026, what feels most important to you creatively right now? Are you more focused on refining what you have built, or pushing yourself into new territory altogether?

This year is a major year for me because I am trying to push myself to the next echelon. I’ve been doing this for so long now that I only feel it’s right to try to expand to my greatest potential and that’s exactly what I’m going to do. Full pedal to the metal. No regrets. Just as much growth as I can possibly put into the VCTRE project.