For a lot of artists in bass music, Red Rocks isn’t just another venue. It’s the benchmark. The mountain carved amphitheater sits in the collective imagination of producers and fans alike as something closer to a rite of passage than a tour stop. For Ravenscoon, March 28th represents that moment. Co-headlining alongside Jantsen, with support from WonkyWilla, Jason Leech, CHOZEN b2b Noetika, and DEV, the night marks the largest performance of his career so far.

Over the past few years, Ravenscoon has steadily expanded both his sound and his scope. His sophomore album Glass Orchid signaled a noticeable shift. Where his debut leaned into a more unified conceptual framework, Glass Orchid embraced contrast. High intensity dancefloor cuts sat beside vulnerable, emotionally raw wave records. The album was less about cohesion and more about catharsis.

That balance wasn’t accidental. After his first headline tour, Ravenscoon found himself navigating personal challenges that reshaped how he approached music. Instead of compartmentalizing emotion, he channeled it directly into the album. The result was a project that felt both refined and exposed, a record that carried fragility without losing impact.

That willingness to lean into duality continues to shape his trajectory. In recent releases like “VISION,” he’s pushed further into downtempo and cinematic territory while maintaining the sub-heavy backbone that defines his live sets. Even the decision to release a remix EP for “VISION” reflects a broader creative philosophy. Ravenscoon has long embraced reinterpretation as a form of dialogue, inviting other producers into his sonic world and learning from how they restructure his ideas.

Still, live performance remains the center of gravity. Ravenscoon has built a reputation for immersive headline experiences. Listening parties inside intimate spaces, citywide scavenger hunts, and custom production choices tailored to specific rooms. He treats shows less like tour stops and more like communal rituals. That perspective stems from his early days as a fan, where the sense of belonging inside electronic music culture mattered just as much as the drops themselves.

Red Rocks amplifies all of that. Co-headlining with Jantsen adds another layer of meaning. As a fan turned artist, Ravenscoon once looked at both Red Rocks and Jantsen as distant pillars of the scene. Now, he steps onto that stage not as an opener or a guest, but as a co-headliner and that alignment feels earned.

Preparation for the night mirrors the scale of the moment. Months of set building, new edits, custom visuals, laser programming, and production details that extend far beyond what a club headline demands. For Ravenscoon, this isn’t simply another large room. It’s an opportunity to demonstrate growth, both as a producer and as a curator of experience.


Looking ahead, a third album looms on the horizon. But for now, the focus is singular. Make Red Rocks the biggest, most intentional performance he’s ever delivered. For fans gathering under the Colorado sky on March 28th, the night will represent a milestone. For Ravenscoon, it’s something even more personal. A reminder that the holy grail is no longer something to aspire to. It’s something to step into.

We caught up with Ravenscoon ahead of his Red Rocks debut to talk about Glass Orchid, vulnerability, and preparing for the most ambitious show of his career. Check out our conversation below!

[Rooster]: Glass Orchid explores contrast in a really intentional way, pairing playful, high energy moments with darker, more emotional material. When you look back on this album now, what do you feel it revealed about where you were at creatively and personally?

[Ravenscoon]: I feel very happy with how Glass Orchid turned out. My debut album Periphery was a lot more homogeneous in a lot of the sounds as I wanted it to feel like a full concept album with 20 plus songs. For Glass Orchid I wanted to refine it down a bit more and really hone in on the emotion and energy and make it a lot more succinct. I was dealing with some tough personal stuff after my first headline tour and used that to drive my creative energy into something that felt incredibly cathartic.

You’ve described Glass Orchid as a project rooted in transformation, fragility, and balance. How did leaning into those themes change the way you approached writing and arranging music compared to earlier releases?

My previous album Periphery was more of a concept album and Glass Orchid was a lot more raw emotionally. I think it was my most vulnerable record that I’ve ever released. I have been trying to write a lot of dancefloor singles for solo and collaborative releases and focusing my intense feelings on my albums. I’m currently writing my third untitled album that is going to dive even further into the wave and emotion with enough energy to keep it balanced. I want to keep pushing the limits of my creativity.

Earlier this year, you released a “VISION” remix EP that invited a range of producers into that world. What was it like hearing that track reinterpreted through so many different creative perspectives, and what did that process reveal to you about the song itself?

I have always loved remix albums as a listener because it shows how many unique takes there can be on a single concept. We did a remix album for my first album Periphery so I wanted to keep that going. David, my collaborator on Vision, spearheaded the effort for these remixes so it was really nice to kind of take a back seat and just let other creatives showcase their versions of a song that is so supercharged with emotion and glitter. I think it revealed how I structure my music and how it can be reinterpreted into so many other structures, giving me ammo for future songs that I write.

Co-headlining Red Rocks with Jantsen feels like a major alignment of two artists who have both carved out distinct but complementary lanes. What does sharing that stage together represent for you at this point in your career?

When I started as a fan I always looked at Red Rocks like the holy grail of your career. It’s an iconic venue with such an incredible history. To be able to headline now and not just headline but do it with one of my biggest inspirations is beyond comprehension. Jantsen is an incredible producer and DJ who deserves so many flowers. I’m just thankful to be able to have this massive opportunity and want it to show people why we deserve to showcase our art there. I promise it’s going to be the best show I’ve ever done and I know Jantsen feels the same.

Red Rocks is a venue that carries a lot of weight for both artists and fans. How do you approach preparing for a night like that differently than a club or indoor headline show?

I’m approaching it the same way I approach any of my bigger curated headlines. I spend months preparing my set, creating new music, new edits, timecoding visuals, lasers, being involved in merch, production, sound. I deeply care about this performance and want it to show people just how far I’ve come as an artist, person, and performer. This is my biggest show ever by far so I want it to feel that same way for the attendees. My Mission Ballroom headline should give people an idea of the scale and intricacies of what to expect, except I’m going ten times bigger.

You’ve built a reputation for thoughtful curation, from listening parties to scavenger hunts and immersive tour experiences. Why is creating a deeper connection with your audience so important to you beyond just the music itself?

I started going to electronic shows in 2009 as a fan, and one of the main things that has kept me around besides the love of the music is the community. A lot of the artists I first got into all had a great community around them, much like the jam band scene. I want to foster that and continue that tradition of music bringing other people together. It gives people the opportunity to meet new people who may turn into a best friend or a lover. That is incredibly important and special and one of the main motivators of my project.

With a packed run of shows, major festival appearances, and new collaborations on the horizon, what feels most exciting about the road ahead as you look ahead in 2026?

I’m most excited about headlining Red Rocks in March and my third album later this year. Right now all of my energy is focused on making my Red Rocks show the biggest, baddest, and most epic performance I’ve ever done. That includes special guests, surprises, customized sound, production, lasers, and much more.