Twinsick Lights Up The District the Day Before Thanksgiving
The District, Sioux Falls, SD, USA - Nov. 26th, 2025
Big thanks to NorthSideArtists for the press pass!
Sound and performance
By the time will call wrapped and I walked into The District, the room felt more like a dress rehearsal than a pre-holiday throwdown: small pockets of friend groups, plenty of open rail, bartenders with zero stress in their eyes. I met up with our photographer Ben down on the floor, both of us show veterans thinking the same thing — this was going to be one of those nights where the music had to do extra work to make the room feel full.
Tokki opened the live portion with a solo setup and a set built from familiar EDM staples and groovy mid-tempo beats. You could tell she’s still in the first chapter of her DJ story — she’s only been at it for about a year after training through Pinnacle Productions, a Sioux Falls DJ and production outfit — but the foundations were there: clean blends, intuitive energy ramps, and a crate that leans on crowd-pleasing classics rather than deep-cut flexing.
A trio from SiouXciety followed and immediately thickened the air with heavier bass remixes. The low end finally woke up the room. Heads started bobbing in unison instead of in isolated islands. Where Tokki felt like a warm-up stretch, this was the first proper sprint, all punchy drops and hands in the air.
Then Skthree stepped in and swung the night toward a clubby, hip-hop-leaning pocket. Missy Elliott and Sam Smith remixes snapped everyone into that “oh, I know this one” posture.
Twinsick took that foundation and hit the gas. The Minneapolis duo — Alex Ingalls and Casey Schneider, who’ve built a following off melodic remixes and sunlit originals like “California Baby” and “Glory Days” — came out swinging with a remix of Børns’ “Electric Love,” that forever-ecstatic glam-pop anthem. CO₂ cannons fired within the first song, washing the front rows in cold white bursts while the room’s energy finally matched the production sizzle.
Setlist and pacing
The night moved like a staircase with each opener stepping the energy up a level until Twinsick could sprint. Posted show info had doors at 7 p.m. and music starting at 8 p.m., which tracked with how things rolled out on the floor.
Tokki’s arc played like a sampler platter — classic EDM, some groovy house, a few tracks that felt more like influences than weapons. It gave early birds something to move to without burning out the limited crowd too fast.
The Siouxciety’s trio block brought in the first real “show” moments: heavier bass, more call-and-response, and remixes that pushed into festival territory.
Skthree then pivoted the night with a more urban, club-forward selection, peppering in those nostalgic 2010s pop-remix moments that every mid-20s-to-30s crowd seems to know by muscle memory. When he dropped “Rumble” by Skrillex, Fred again.. and Flowdan — the “killers in the jungle” track that lives rent-free in our house — reworked into a club beat, it hit with extra force for me. My family loves it so much my husband did a version of it as a Halloween parody called “Killers in the Cornmaze” for the kids. Hearing that hook roar out over The District’s system felt like our living room had been scaled up and dropped into a club.
Twinsick’s set felt like the logical peak of that ramp. The high-density remixing, minimal dead air, and almost no chatter beyond quick hyping between drops. Their pacing sweet spot is obvious — stack familiarity (“Electric Love,” Florence, Avicii nods) and sneak in their originals once the crowd is fully on their side.
From there, the set leaned into Twinsick’s core strength: taking songs you already love and bathing them in bright, feel-good dance arrangements. A Florence + The Machine remix — “Dog Days Are Over,” judging by the way the chorus detonated — turned the floor into one big shout-along. When an EDM act can get almost everyone singing, not just bouncing, you know they’ve tuned into the right emotional frequency.
For a first time seeing Twinsick live, the takeaway was simple: they’re not trying to reinvent the genre onstage. They’re trying to make you feel like the best parts of an Avicii drop and a Clean Bandit hook can coexist all night, wrapped in slick transitions and unabashedly happy chords. Most of the time, it works.
If there’s a critique, it’s that the emotional arc stayed in “euphoric” territory most of the night. A brief comedown or one left-field curveball track might have given the peak moments more contrast. But most people weren’t chasing catharsis. They just wanted to dance.
Crowd and context
Early on, the room felt sparse — more metal rail than bodies, a few clusters of friends soaking in the house playlist and chatting with bartenders. EDM crowds run late almost as a rule, and this show obeyed the stereotype. By the time Skthree hit and especially once Twinsick took the stage, the floor filled in enough to feel like an actual event, even if the balcony and far corners stayed roomy.
Bill from security’s estimate of around 400 tickets sold seemed realistic against what you could see. The front-of-house was comfortably full, plenty of breathing room out back. In a 1,500-capacity space, that half-full room felt less like a disappointment and more like a small victory. So many people had family in town, travel on the calendar, or a full schedule waiting the next morning. The fact that a few hundred of them still chose strobes and subs over sleep or planning felt like a statement.
Demographically, it skewed young: college-age through late 20s, with a sprinkling of older fans who’ve clearly followed the duo’s rise through playlists and TikTok. This wasn’t a room full of crate-digging purists; it was a crowd that wanted to hear songs they recognized, blasted through big speakers with more bass than their cars can handle.
For us, having Ben on site with the camera added another layer—you get this split-screen experience of the same moment: one part fan locked into the drops, one part observer watching light, smoke, and faces line up in the frame.
Standout moments
The early house playlist veering from Daft Punk into straight-up opera set a strangely perfect tone. It was a reminder that EDM—at least the version that thrives on mashups and cross-genre blends—is built on the audacity of “what if we tried this?”
Skthree’s drop into “Rumble” hit especially hard. On paper, it’s a 2023 single with grime and dubstep DNA that went on to win a Grammy for Best Dance/Electronic Recording. In practice, it’s a live grenade for any sound system. The “killers in the jungle” refrain is already sticky, but hearing it bounce off The District’s walls while knowing our kids run around singing a corn-maze parody of the same hook made it feel like a weird little family crossover episode.
Twinsick’s opener with “Electric Love” was the other pivot. That song is wired for communal screaming, and their remix leaned into it: big, bright synth swells, chunky drums, and those CO₂ blasts perfectly timed to the drop.
Somewhere in the middle, the through-line became clear: Twinsick’s show is about stitching together a shared playlist that already exists in people’s heads, then repainting it in their neon color palette. When it clicks, the set feels less like a concert and more like being inside a well-programmed party, just with bigger toys.
Production
Production-wise, The District did what it does best: clear sightlines, punchy sound, and enough lighting and effects to make a mid-week show feel like more than a club night, without pretending it’s a festival mainstage. The CO₂ cannons during Twinsick’s set were the exclamation mark, used just enough to feel special without turning every drop into the same gag.
The only real bummer came offstage. As a merch designer, vendor, and shameless collector, I always make a beeline for the table, and this time there wasn’t any merch to find, no deep line of Twinsick designs, no limited tour pieces begging to come home with me. For a show built on such bright, feel-good energy, the lack of real merch felt like a missing chapter. The music did its job; my hoodie budget went home untouched.
Counterpoint/limitation
The biggest limitation of the night wasn’t onstage; it was the empty real estate in the room. A half-full venue changes how sound moves, how crowds respond, and how brave a DJ feels about taking risks. With more bodies absorbing the low end and feeding energy back to the stage, some of those mid-set peaks might have gone nuclear instead of just “really fun.”
Afterglow
Walking back past will call—now quiet, counters cleared, security winding down—that early image of a mostly empty District floor felt far away. The opera snippets, the Daft Punk, the thin early crowd, all of it had been swallowed by a night where a few hundred people chose bass over baking, packing, or small talk with relatives in the living room.
Twinsick didn’t rewrite EDM history in Sioux Falls, and they didn’t need to. They turned a not-quite-sold-out weekday into a bright, communal rehearsal for the holiday—a roomful of strangers yelling along to Florence + The Machine and Børns.
If Twinsick comes back through after “Glory Days” and their newer singles have had more time to marinate, that same room might feel a whole lot fuller. The foundation is there; all that’s left is for more people to discover them.
For us back home, the kids will keep sprinting around to “Killers in the Cornmaze,” and I’ll keep hearing the real “Rumble” underneath it.
