WITCHZ

Born and raised in Las Vegas, and not saying much else

WITCHZ is one person doing every job. He writes, produces and mixes the records, releases them through LIONZDEN, the studio imprint that carries his own catalogue, and handles the promotion himself. The origin story is unusually flat for a project this theatrical: he was born and raised in Las Vegas, has said so directly to his own audience, and the desert and the mountains around the city do most of the work in the visual language — dust, distance, empty road.

The sound is filed as Alternative on the streaming services and as alternative hip hop elsewhere, which is a reasonable disagreement. In practice it is bass-heavy alt-pop built on electronic phonk rhythms, with breathy low vocals sitting under the low end rather than over it, and guitars used as texture more often than as riffs. The lyrics run to psychedelic experience, love, hate and mental health, and the writing is blunt rather than cryptic.

The other structural fact is the anonymity. Across roughly five years of building an audience as the WITCH, he has not spoken on camera — no interviews, no talking-head clips, no name attached. The consequence is visible in what people search for: face reveal and without the mask are perennial queries against the account. It has not slowed the project down. The TikTok audience arrived first and the records followed it.

A release schedule with no gaps in it

The catalogue is built on volume and pace rather than on album cycles. In the late summer of 2024 he put out the single BLAME ME on 9 August, then WONDER WHY on 23 August, DRUGZ2FEEL on 30 August, MAKE ME CUM on 20 September and the fifteen-track LIFE on 27 September — five projects in seven weeks, with the earlier LA$ VEGA$, ASHES, THE DOSE, GRIME pt. 1 and HOME already behind them.

The same habit returned a year later. DED AGAIN, four songs and fourteen minutes on LIONZDEN, landed on 31 October 2025, followed by the seasonal single CHRISTMAS IN THE BADLANDZ on 27 November. Then came the densest stretch of the whole discography: FLOODS on 23 January 2026, VENOM on 30 January, LIMERENCE on 6 February and AFTERLIFE on 27 February, eleven songs and thirty-three minutes. THE COLLAPSE, five tracks, sits at the head of that sequence.

What that pace produces is a catalogue where the most-played tracks are not always the newest. The current top five on Apple Music runs an alternative mix of Smells Like Teen Spirit, Im Fine, a reading of Wicked Game, The Magick and Villain Mode — two covers in the top three, which says something about how the project reached people and where the entry points are.

AFTERLIFE, and the tour named after it

AFTERLIFE arrived on 27 February 2026 and the tour opened a week later. ENTER AFTERLIFE World Tour 2026 is billed by the artist as his first official world tour, and the scale bears that out: Songkick logs 47 shows in 2026, running from 5 March through 20 September, with more still to come.

The North American leg took most of March, April and May — Houston, Atlanta, Nashville, Charlotte, Washington DC, Philadelphia, New York, Boston, Buffalo, Detroit, Columbus, Indianapolis, Chicago, Minneapolis, Des Moines, Kansas City, Fort Collins, Boulder and Englewood among them — and finished with a Las Vegas home date on 9 May. The rooms were mid-size throughout: The Independent in San Francisco, SOMA in San Diego, A&R Music Bar in Columbus, The Basement in Nashville.

Europe followed at the end of August. Dublin at The Grand Social on 29 August, Manchester at Gorilla on 2 September, London at O2 Academy Islington on 3 September, Amsterdam at Melkweg on 8 September, with Paris at Le Trabendo, Warsaw, Kraków, Hamburg, Copenhagen and Berlin filling out the month. A single, peace in the end (RAW), was released on 21 August, timed to the start of that leg.

What the sets actually look like

The touring set is long and moves fast. At The Independent in San Francisco on 11 March 2026 the show ran to 26 songs: Charmer, Kill My Vibe, The Wikked, THE DOSE, Venom, Im Fine, The Collapse, Drowning, The Master, an acoustic Scrape, the Chris Isaak cover Wicked Game, M.I.A, Ravenous, HOME, Grime Pt. 1, THE ALGORITHM, Killem, The Eye, Time Will Tell, The Magick, Limerence, DED AGAIN, the Nirvana cover Smells Like Teen Spirit, FLOODS and Bring Me to Life. Most of the material is short, which is how a set of that length stays inside eighty minutes.

A review of the San Diego date at SOMA on 16 March put the headline set at roughly one hour twenty, preceded by a half-hour DJ set from an unnamed figure in a red hood — the support on that leg is part of the staging rather than a separate billed act. Between song groupings the screens carry filmed interludes of the artist in the Grand Canyon, and each track gets its own visual treatment rather than a single fixed backdrop. The reviewer, who went in cold, described the mix as darker than expected, pulling EDM and drum and bass together with a heavier metal edge on some songs, and noted that the artist worked the barricade by hand and stayed for a meet-and-greet afterwards.

The Amsterdam show at Melkweg on 8 September drew a photo review that read the staging in the same terms: high-contrast shadow broken by sudden bursts of light, with the tension of the night sitting between the theatrical presentation and a performance that stays physical. The crowds have been mixed in age and style rather than a single scene, which is what a following assembled on TikTok tends to look like when it turns up in a room.

Where the run stands now

Four dates remain on sale, all on the continent and all in small to mid-size venues: Strom in Munich on 26 September, Exil in Zürich on 29 September, Das Bett in Frankfurt on 30 September and Luxor in Cologne on 4 October, which closes the tour. No support act is listed for any of them, consistent with the DJ-set opening used earlier in the run. General admission and VIP tickets are both being sold through the artist's own site.

Beyond 4 October nothing is announced. The official site is still pushing AFTERLIFE and the peace in the end single, with a sign-up for whatever follows. On the evidence of the last two years, the gap between a tour ending and the next batch of songs appearing is unlikely to be long.