SIDEPIECE Takes Over Brooklyn Storehouse With Bobby Shmurda, Aluna and a Massive Two Hour House Set

SIDEPIECE Takes Over Brooklyn Storehouse With Bobby Shmurda, Aluna and Nearly Two Hours of Relentless House Music

SIDEPIECE brought nearly two hours of high energy house music to Brooklyn Storehouse in New York City, delivering a sprawling 2026 headline set built around tech house grooves, recognizable vocal flips, hip hop samples and several of the duo’s biggest records. The performance also became a showcase for SIDEPIECE’s increasingly broad musical reach, with Aluna joining the duo for “Misbehave” before Brooklyn rapper Bobby Shmurda appeared later in the night for a live performance of their collaboration “Cash Out.”

The approximately one hour and 58 minute performance moved quickly between SIDEPIECE originals, unreleased IDs, remixes and club edits of songs spanning pop, hip-hop and electronic music. Rather than treating the show as a straightforward presentation of their catalog, SIDEPIECE used familiar vocals and unexpected samples as transition points, allowing the set to repeatedly move between underground house production and records immediately recognizable to a mainstream New York crowd.

SIDEPIECE Opens With Familiar Vocals and Heavy House Production

The performance begins atmospherically before SIDEPIECE quickly establishes the driving house rhythm that defines most of the set. An early sequence incorporates the instantly recognizable vocal from September’s “Cry for You” alongside SIDEPIECE material including “Function,” giving the opening several minutes a melodic familiarity before the production becomes heavier and more percussive.

That approach becomes a recurring theme throughout the performance. SIDEPIECE frequently uses vocals that audiences recognize within seconds, then places them over house production designed for a large dance floor. Early selections incorporate Tove Lo’s “Habits (Stay High),” Odd Mob and Luciana’s “Rock the Rhythm (I Like That)” and a SIDEPIECE treatment of Kesha’s “Die Young,” creating a rapid sequence of pop hooks surrounded by club-oriented drums and basslines.

The duo also pulls heavily from hip-hop. A house edit built around “Bandz a Make Her Dance,” the Juicy J hit featuring Lil Wayne and 2 Chainz, arrives roughly 16 minutes into the performance. Instead of separating hip-hop, pop and electronic music into distinct sections, SIDEPIECE repeatedly uses vocals from each genre as raw material for the same continuous house set.

Pop Anthems Become Peak Hour House Records

One of the strongest elements of the Brooklyn performance is SIDEPIECE’s willingness to use enormous pop records without allowing the set to lose its club identity. Around the 20-minute mark, Calvin Harris and Florence Welch’s “Sweet Nothing” appears in a SIDEPIECE treatment that preserves the emotional familiarity of the original while fitting it into the faster, heavier framework of the performance.

The set then returns to harder house production, eventually reaching Max Styler, Vintage Culture and Ali Love’s “Freaky” before moving through unreleased material. The transitions illustrate why recognizable vocal edits remain such an effective tool in modern DJ sets: the audience receives the immediate payoff of a familiar record without forcing the DJ to abandon the rhythm or direction of the larger performance.

By the middle of the set, SIDEPIECE has established a formula that remains remarkably flexible. The drums and bass maintain the nightclub foundation while the vocals continually change the emotional character of the room, allowing the duo to move from aggressive tech house to nostalgic pop and hip hop moments without turning the performance into a conventional open format set.

SIDEPIECE Keeps the Brooklyn Crowd Guessing

The energy intensifies again around the 40 minute mark with “Fuck It Up,” the collaboration from Disco Lines, SIDEPIECE and Mike Sherm. The selection fits naturally into a section increasingly influenced by hip hop and party records, while maintaining the four on the floor production running through the broader performance. SIDEPIECE follows with additional club material including GREG 99’s “Pump It Up” and eventually returns to the “Cry for You” vocal heard earlier in the night. Later, an edit built around Outkast’s “Rosa Parks” helps push the set toward its first major live guest appearance. The constant recycling and recontextualizing of recognizable music is central to the performance. Songs that might appear completely unrelated on a playlist become connected through tempo, percussion and transitions, creating a set designed as much around crowd recognition as individual track selection.

Aluna Joins SIDEPIECE for “Misbehave”

The first major live surprise arrives shortly before the one-hour mark when Aluna joins SIDEPIECE onstage for “Misbehave.” Released on SIDEPIECE’s Lip Service imprint in January 2026, the collaboration combines the duo’s tech-house production with Aluna’s distinctive vocal style and had already been positioned as a club focused record before the Brooklyn performance. The appearance changes the dynamic of the show from DJ set to live collaboration. After nearly an hour of sampled and recorded vocals, seeing the artist behind one of the records physically appear onstage gives the song considerably more weight and provides a natural centerpiece for the middle of the performance.

“Misbehave” has also become an important release for SIDEPIECE’s growing Lip Service label. The track was officially released January 30, 2026, with Beatport categorizing the extended mix as tech house at 132 BPM. Is combination of a direct vocal hook and club oriented production makes it particularly suited to the kind of large room environment SIDEPIECE was working with at Brooklyn Storehouse.

Bobby Shmurda Turns “Cash Out” Into a Brooklyn Moment

The biggest hometown connection arrives later when Bobby Shmurda joins SIDEPIECE for “Cash Out.” The Brooklyn rapper’s appearance gives the performance a distinctly New York moment, bringing an artist deeply associated with Brooklyn rap culture into the middle of a tech house headline set. “Cash Out” represents the kind of genre crossover SIDEPIECE repeatedly explores throughout the performance. The collaboration takes Shmurda’s unmistakable rap delivery and places it inside a house production framework, creating a record capable of functioning in both festival and nightclub environments without simply sounding like a conventional rap remix.

The live appearance is particularly effective because SIDEPIECE spends much of the preceding hour establishing the relationship between hip hop vocals and house production. By the time Shmurda actually walks onstage, the crossover no longer feels like a novelty inserted into the set. It feels like the logical culmination of an approach SIDEPIECE has been building throughout the night.

The Final 40 Minutes Become a SIDEPIECE Showcase

After the guest sequence, SIDEPIECE turns increasingly toward records associated directly with the duo. A flip of “On My Mind,” their Grammy-nominated breakthrough collaboration with Diplo, arrives around the 1:23 mark and reconnects the performance with one of the records that helped establish SIDEPIECE internationally.

The closing stretch continues with “Sex Sells,” another pop crossover through a SIDEPIECE treatment of Kelly Clarkson’s “Since U Been Gone,” and “Take Your Places,” the duo’s collaboration with Westend. “Sextacy” follows later, giving the final portion of the performance a greater concentration of SIDEPIECE’s own catalog after a set heavily populated with edits, samples and outside material.

The finale eventually reaches John Summit’s “Deep End” through SIDEPIECE’s remix, bringing the nearly two-hour performance back to the tech house sound that helped establish both artists during the genre’s explosive growth in the United States. Rather than ending with a dramatic stylistic departure, SIDEPIECE closes within the musical territory that has defined much of its career.

SIDEPIECE’s Set Reflects How Modern House Music Has Changed

The Brooklyn Storehouse performance also illustrates how far mainstream American house music has moved beyond rigid genre boundaries. SIDEPIECE’s set can incorporate September, Tove Lo, Kesha, Juicy J, Lil Wayne, 2 Chainz, Calvin Harris, Florence Welch, Outkast and Kelly Clarkson while still functioning primarily as a house performance.

That approach would be difficult without sophisticated production and careful track selection. A recognizable vocal can immediately connect with thousands of people, but simply placing a famous acapella over a house beat does not automatically create a compelling set. SIDEPIECE’s strength is in repeatedly using those familiar elements as entry points before returning the crowd to heavier club records.

The Bobby Shmurda and Aluna appearances reinforce the same idea from another direction. Instead of house producers merely sampling other genres from behind the decks, the artists themselves become part of the performance. The result is a show where the boundary between DJ set, remix culture and live concert becomes increasingly difficult to define.

Brooklyn Storehouse Gives SIDEPIECE Room to Build a Full Journey

The length of the performance is also important. At nearly two hours, SIDEPIECE has considerably more room to develop the night than it would during a shortened festival slot. The duo can introduce unreleased records, revisit earlier vocals, experiment with longer transitions and move between underground oriented selections and enormous mainstream hooks without having to rush directly from one recognizable song to another.

That structure gives the guest appearances more impact. Aluna arrives only after the audience has spent approximately an hour inside SIDEPIECE’s musical world, while Bobby Shmurda’s appearance comes more than 75 minutes into the performance. Neither guest feels like an opening gimmick designed primarily for social media; both become events inside a much larger DJ set.

For fans unable to experience the Brooklyn show in person, the complete performance also functions as a snapshot of SIDEPIECE’s sound in 2026. The duo remains rooted in house music, but the set demonstrates an increasingly broad interpretation of what can exist inside that framework, moving freely between underground club production, pop nostalgia, hip-hop and its own expanding catalog.

SIDEPIECE Delivers a New York Set Built for the Crowd

What ultimately distinguishes the Brooklyn Storehouse performance is not any single track. It is the way SIDEPIECE builds nearly two hours around constant recognition and release. Familiar vocals appear and disappear, hip-hop records become house weapons, pop songs are reconstructed for the dance floor and original SIDEPIECE material gradually becomes more prominent as the night progresses.

Aluna’s performance of “Misbehave” gives the set one of its strongest vocal moments, while Bobby Shmurda’s appearance for “Cash Out” gives the New York crowd a hometown crossover that could only carry that exact significance in Brooklyn. Surrounding those guests is a dense, fast moving house set that demonstrates how effectively SIDEPIECE can operate between underground dance music and mainstream culture.

For a duo that first reached a massive international audience through “On My Mind,” the Brooklyn performance shows how much larger the SIDEPIECE catalog and live identity have become. The records may come from different decades and genres, but once SIDEPIECE gets them inside the same DJ booth, nearly everything becomes house music.

Sources & Further Reading

Full Brooklyn Storehouse Performance

SIDEPIECE — Live at Brooklyn Storehouse in NYC 2026 (Full Set)

Aluna and “Misbehave”

Beatport — Aluna & SIDEPIECE, “Misbehave”

Beatportal — SIDEPIECE & Aluna Drop “Misbehave”

Apple Music — Aluna & SIDEPIECE, “Misbehave”

Bobby Shmurda and “Cash Out”

SIDEPIECE & Bobby Shmurda — “Cash Out”

Beatport — SIDEPIECE & Bobby Shmurda, “Cash Out”

Insomniac Music Group — SIDEPIECE & Bobby Shmurda, “Cash Out”