Long before the wider attention, HNTR was paying attention to how a room moved. Not in theory, but in real time, through parties, late nights, and trial and error with No Neon. You quickly see what holds people and what loses them, and that kind of feedback leaves little room for guesswork.
That experience still sits at the center of how he makes music. Even now, the starting point hasn’t really shifted. It’s not about chasing what’s trending or what might take off online. It’s about whether a track actually works when it’s played out loud, in a space full of people who aren’t thinking about algorithms.
His remix of “Stephanie” pushed him into a different sphere, travelling far beyond the scene he came up in. But if anything, it seems to have reinforced what he already knew rather than changing direction. The sound remains dark, driving, and built to hold attention, not just grab it for a moment.
At a time when dance music is moving faster than ever online, HNTR is still measuring things differently. The internet might decide how far a track goes, but the room decides whether it lasts.
You’ve been part of Toronto’s underground for years, not just as an artist but through No Neon. How has building a scene around you shaped the kind of music you make today?
Building No Neon changed how I approach everything. When you’re throwing parties, you see in real time what actually works and what doesn’t. That naturally shapes how you produce. It made me focus more on feeling and energy than trends. My music comes from what I know will translate in a room.
Your Stephanie Remix became a global dance hit; went No.1 on Beatport, certified Gold in Australia and has now amassed 100M streams. Did that moment change how you see your place within the global dance scene?
It was a big moment, especially hitting No. 1 on Beatport and seeing it connect globally. More than anything, it reinforced that staying true to my sound works. It opened doors, but it didn’t really change how I approach music.
Your sound leans dark, heavy, and a bit unpredictable. What draws you to that space, especially when more commercial sounds tend to travel faster?
I’ve always been into music that creates tension and keeps people locked in. Darker records just feel more honest to me. Commercial stuff moves faster, but I’m more focused on what lasts in a club.
You’ve released on labels like Experts Only, Drumcode and Hellbent while also having your own imprint. How do you decide what belongs in your world versus someone else’s?
For the last 2 years, my focus has been solely on working with other labels, but I think it’s about time to get back to releasing on my own brand! Having a place where I can have complete creative control over all aspects of the music and the overall vision feels exciting again.
Dance music is moving faster than ever online, with tracks blowing up before they’re even released. How do you navigate that without losing the club-focused intent of your music?
I still build everything for the club first. If it doesn’t work in a room, it’s not done. Online can push things faster, but it doesn’t really change how I make records.
You were part of the first wave to win a JUNO in the underground dance category. Do you feel like recognition is finally catching up to what’s been happening in that space for years?
Winning a Juno Award was meaningful for the scene. It feels like things are starting to catch up, but there’s still a lot more happening under the surface.
What are your thoughts about the Future of Music in Canada?
Canada’s in a strong place right now. There are a lot of new artists coming up with their own identity. Cities like Toronto are still pushing things forward, but it feels more connected across the country now.
